Sight Singing - Adler Samuel (1)

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EDITION

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Samuel Adler Professor Eastman

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Emeritus School o f Music

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& C o m p a n y L o n d o n

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CONTENTS

P r e f a c e

INTRODUCTION

t ot h e S e c o n d

S i g h t S i n g i n g M e l o d i c

E d i t i o n

¡x

b y I n t e r v a l a n dR h y t h m

S t u d i e s

1

1

PREPARATORY EXERCISES

1

NONRHYTHMIC EXERCISES

1

MELODIC EXAMPLES FROM THE LITERATURE

2

SPECIALLY C O M P O S E D MELODIES F O RT H E PRACTICE O F PARTICULAR INTERVALS DUETS AND CANONS

2

R h y t h m i c

2

A d d i t i o n a l

S t u d i e s

M a t e r i a l f o r S t u d y

a n d R e v i e w

P A R T O N E

CHAPTERI A B O U T

S C A L E S A N D I N T E R V A L S

S c a l e s

a n d T h e i r R e l a t i o n s h i p s

THE RELATIONSHIP O F KEYS

7

MAJOR SCALES A N D THEIR RELATIVE MINORS EXERCISES

Identifying Intervals

TYPES O F INTERVALS W R I T T E N

EXERCISES

S i n g i n g T h e

10

11

S e c o n d

14

1 5

S c a l a r S e c o n d s

M a j o r

EXERCISES

8

10

ENHARMONIC SPELUNG O F INTERVALS

S E C O N D S

8

9

CLASSIFICATION O F INTERVALS

C H A P T E R II

7

THE RELATIONSHIP BETWEEN MAJOR A N D MINOR SCALES W R I T T E N

S C A L A R

3

5

Melodic Studies L E A R N I N G

2

17

17

17

V

T h e

M i n o r S e c o n d

E X E R C I S E S

S i n g i n g

20

2 0

M a j o r a n d M i n o r S c a l e s

E X E R C I S E S

E x e r c i s e s f o rP e r f o r m a n c e

C H A P T E R ill T H E

P E R F E C T

F I F T H

A N DT H E

P E R F E C T

F O U R T H

T h e

P e r f e c t Fifth

E X E R C I S E S

T h e

M i x i n g

27

32

33

P e r f e c t F o u r t h

E X E R C I S E S

36

36

P e r f e c t Fifths a n d P e r f e c t F o u r t h s

E X E R C I S E S

C H A P T E R IV T H I R D

T h e M a j o r Third EXERCISES T h e

40

48

48

M i n o r T h i r d

E X E R C I S E S

52

52

M i x i n g M a j o r T h i r d s a n d M i n o r T h i r d s E X E R C I S E S

S O M E

O T H E R C L E F S

T h e

55

55

E x e r c i s e s f o rP e r f o r m a n c e

CHAPTER V

A l t o a n dT e n o r C l e f s

W r i t t e n E x e r c i s e s

57

73

74

PITCH IDENTIFICATION

74

T R A N S C R I B I N G M E L O D I E S

75

E x e r c i s e s f o rP r a c t i c e a n d P e r f o r m a n c e

C H A P T E R VI T H E

S I X T H

T h eM a j o r Sixth EXERCISES T h e

83

87

87

M i x i n g M a j o r S i x t h s a n dM i n o r S i x t h s E X E R C I S E S

C H A P T E R VII S E V E N T H

T h e M i n o r S e v e n t h EXERCISES T h e

93

105

106

M a j o r S e v e n t h

E X E R C I S E S

90

90

E x e r c i s e s f o rP e r f o r m a n c e

T H E

81

84

M i n o r S i x t h

EXERCISES

3 9

39

Exercises for Performance

T H E

2 2

2 2

109

1 1 0

M i x i n g M i n o r S e v e n t h s a n dM a j o r S e v e n t h s E X E R C I S E S

11

4

E x e r c i s e s f o rP e r f o r m a n c e

vi

117

11

C H A P T E R VIII T H E

T R I T O N E

A N D

E N H A R M O N I C I N T E R V A L S

T h e T r i t o n e E X E R C I S E S

130 130

T h e A u g m e n t e d E X E R C I S E S

T h e A u g m e n t e d E X E R C I S E S

C H A P T E R IX

134

S i x t h a n d t h e D i m i n i s h e d

S e v e n t h

138

E x e r c i s e s f o r

O T H E R

S e c o n d

135

P e r f o r m a n c e

141

M o d a l

S c a l e s a n d O t h e r S c a l e s

M o d a l

S c a l e s

147

S C A L E S E X E R C I S E S

147

147

O t h e r S c a l e s

152

THE CHROMATIC SCALE i 5 2 THE WHOLE-TONE SCALE 1 5 3 T H E O C T A T O N I C S C A L E S Y N T H E T I C S C A L E S

CHAPTER X C H O R D S

153

1 53

E x e r c i s e s f o r P e r f o r m a n c e

157

C h o r d s a n d S i m u l t a n e i t i e s

162

LIKE-INTER V A L C H O R D S DIVERSE-INTERVAL PLANING

1 62

C H O R D S

(OR PARALLELING)

P A R T

1 65 E X E R C I S E S

T W O

Rhythmic Studies CHAPTER XI L E A R N I N G

D e f i n i t i o n o f R h y t h m i c T e r m s

169 171

A B O U T

R H Y T H M

T a b l e o f R h y t h m i c Valúes E X E R C I S E S

C H A P T E R XII S I M P L E ( C O M M O N )

1 66

M E T E R

S i m p l e

174

175

D u p l e M e t e r , t h e " T w o - B e a t "

EXERCISES

S i m p l e Triple M e t e r , t h e " T h r e e - B e a t " E X E R C I S E S

178

178 181

181

S i m p l e Q u a d r u p l e M e t e r , t h e " F o u r - B e a t " E X E R C I S E S

185

S y n c o p a t i o n

188

T h e A n a c r u s i s o r U p b e a t E X E R C I S E S

189

189

I r r e g u l a r División o f a B e a t i n S i m p l e E X E R C I S E S

184

192

M e t e r

191

137

C H A P T E R XIII C O M P O U N D M E T E R

C o m p o u n d EXERCISES

D u p l e

M e t e r

C o m p o u n d

Triple M e t e r

Q u a d r u p l e

E X E R C I S E S

E X E R C I S E S

209

Q u i n t u p l e

M e t e r

E X E R C I S E S

214

S e p t u p l e

203

9

M e t e r (s , 2

1 2

, \i)

206

206

A d d i t i o n a l C o m p o u n d

M E T E R S

( 1 , 4 , i 6>

203

C o m p o u n d

CHAPTER XIV

200

200

E X E R C I S E S

C O M P O S I T E

( | , ! , i66)

M e t e r

M e t e r s

209

214 2 1 7

EXERCISES 2 1 7 División o f C o m p o u n d

M e t e r into Irregular P a t t e r n s

220

E X E R C I S E S 2 2 1

A d d i t i o n a l C o m p o s i t e

M e t e r s

2 2 2

E X E R C I S E S 2 2 2

CHAPTER XV

M i x e d

(Changing)

A D D I T I O N A L

2

2

M e t e r s

226

6

R H Y T H M I C D E V I C E S

C o m p l e x E X E R C I S E S

D i v i s i o n s o f t h eB e a t

E x e r c i s e s f o rP e r f o r m a n c e

P A R T

229

229

231

T H R E E

Additional Material for Study and Review 2 3 7 CHAPTER XVI 239 C H A P T E R XVII 258

M E L O D I E S

E N S E M B L E

F O R R E V I E W

P I E C E S

A c k n o w l e d g m e n t s

viii

F O R

311

F r o m

G r e g o r i a n

R E V I E W

C h a n t

t o t h e P r e s e n t

D a y

PREFACE TO THE SECOND EDITION

Why a New Edition? "I should hate y o u for having written such a tough book, but I have to admit it has completely t u r n e d a r o u n d m y ear s o I can h e a r m u c h better." T h i s q u o t e f r o m a college s t u d e n t strikes m e as a g r e a t c o m p l i m e n t , f o r i fI can " t u r n a r o u n d " a student's ear so that h e can h e a r effectively I will have realized m y fondest hopes for this book. I t i s n o w o v e r t e n y e a r s s i n c e t h e first e d i t i o n o f t h i s v o l u m e a p p e a r e d , a n d I a m grateful t othe m a n y colleagues and students w h o have generously taken t h e time t o s e n d m e t h e i r c o m m e n t s o n t h e t e x t a n d e x e r c i s e s , a s w e l l a s m a n y r e c o m m e n d e d changes. Happily, those w h o have used the v o l u m e have generally b e e n gratified w i t h the results. T h i s isn o t simply another sight singing b o o k but rather a m e t h o d that m u s t o f necessity b e partially r e m e d i a l . I n m o s t o fthe rest o ft h e W e s t e r n w o r l d a student w h o studies a ni n s t r u m e n t o rlearns h o w t osing is almost i m m e d i a t e l y a n d s i m u l t a n e o u s l y i n s t r u c t e d i n solfeggio. S e l d o m d o e s t h a t h a p p e n i nthis country, a n d a l t h o u g h o u r instrumental a n d vocal instruction a t the pre-collegiate level is b ya n d large superior t o that i n o t h e r countries, w e o f t e n f a i l t o t r a i n o u r s t u d e n t s ' e a r s w h i l e w e t e a c h t h e i r fingers a n d m i n d s . I t w a s t o c o r r e c t t h i s i m b a l a n c e t h a t Sight Singing: Pitch, Interval, Rhythm w a s c o n ceived. T h e b o o k deals systematically w i t h the p r o b l e m s o fsight-reading a n d dictation, and provides a multitude o fexamples t ob e used for classroom instruction a n d practice at h o m e . S o m e choral conductors have told m e that t h e y use b o t h m e l o d i c a n d r h y t h m i c phrases f r o m t h e b o o k as w a r m - u p exercises t o t e a c h i n t e r v a l s a n d d i f f i c u l t r h y t h m s e m p l o y e d i nw o r k s t h e y a r e p r e p a r i n g f o r p e r f o r m a n c e . T h e c a n o n s t h r o u g h o u t the b o o k have also b e e n w e l c o m e d b y m a n y teachers, w h o have c o m m e n t e d that their performance a d d s a n a t m o s p h e r e o f m u s i c a l i t y t o t h e skills classes. M O R E C O M P R E H E N S I V E A P P R O A C H

A l l this has b e e n m o s t gratifying; t h e n w h y c h a n g e a n y t h i n g i f it does n o t n e e d f i x i n g ? N o first e d i t i o n i n o u r b u s i n e s s i s a l l t h a t i t c a n b e , a n d a f t e r a d d i n g u p the c o m m e n t s o f the past t e n years I c o n c l u d e d that m a n y i m p o r t a n t aspects o f t h e first e d i t i o n n e e d e d c h a n g e . F i r s t o f a l l , a m o r e comprehensive a p p r o a c h was called for, a n d increasing the n u m b e r o f e x a m p l e s f r o m stand a r d literature was certainly i n order.

ix

N E W O V E R A L L O R G A N I Z A T I O N

N E W C H A P T E R O R G A N I Z A T I O N

I have been convinced that the b o o k should b e organized i n a slightly differe n t way, e m p h a s i z i n g scales a n d t h e i r c o n s t r u c t i o n i n C h a p t e r I so t h a t a n easy introduction t othe singing o f major and m i n o r seconds and t h e n major and m i n o r scales c a n b e m a d e i nC h a p t e r I I . A f t e r that, t h e i n t r o d u c t i o n o f t h e p e r f e c t fifth a n d p e r f e c t f o u r t h m a d e s e n s e f o r C h a p t e r I I I . C h a p t e r s I V t h r o u g h V I I n o w present m a j o r a n d m i n o r thirds, sixths, a n d sevenths i n that o r d e r , b e f o r e t h e m o r e d i f f i c u l t i n t e r v a l s s u c h as t h e t r i t o n e , a u g m e n t e d second, a n d other altered intervals are tackled i n Chapter V I I I . I n addition, I felt that the exclusive use o f o n l y o n e i n t e r v a l per chapter h a d t o b e m o d i f i e d s o m e w h a t , y e t e a c h c h a p t e r s t i l l g i v e s t h e s t u d e n t a n o p p o r t u n i t y t o concéntrate o nthe particular interval u n d e r study. I fthe i n s t r u c t o r wishes t o use a different sequence o f intervals than t h eo n epresented i n this book, s h e s h o u l d f e e l f r e e t o d o so a n d i t s h o u l d w o r k w e l l — e s p e c i a l l y after C h a p t e r I I I . Special c a r e h a s been t a k e n t o m a k e the exercises m o r e progressive within each chapter i n Part O n e a n d t o a d d m a n } ' m o r e examples f r o m a l l creative p e r i o d s o f m u s i c l i t e r a t u r e . I t h i n k t h a t a l l o f u s w h o t e a c h t o d a y find t h a t m a n y o f o u r students d o n o t k n o w e n o u g h literature; b y adding n u m e r o u s examples f r o m the standard repertoire, I have tried to m a k e the new edition a m u c h m o r e u s e f u l t o o l i n t o d a y ' s c l a s s r o o m . A t t h e s a m e time, m a n y o f t h e newly composed, rhythmicized melodies that drill a student o na particular i n t e r v a l h a v e b e e n r e t a i n e d f r o m t h e first e d i t i o n i n o r d e r t o i n c l u d e a n o t h e r level o f pitch reading.

New

to the Second Edition

Besides i n c l u d i n g a larger n u m b e r o f excerpts f r o m music literature a n d three sections o fn e w l y c o m p o s e d duets, I offer a b r a n d n e w feature: Part T h r e e , w h i c h i n c l u d e s r e v i e w m e l o d i e s , e n s e m b l e pieces, a n d w o r k s f r o m t h e sixt e e n t h t o the t w e n t i e t h centuries t h a t are to b ep e r f o r m e d w i t h a c c o m p a n i m e n t . I felt that i t was best t o present the m a j o r i t y o f the twentieth-century m e l o d i e s f r o m t h e l i t e r a t u r e i n t h e first c h a p t e r o f P a r t T h r e e ( C h a p t e r X V I ) . After the newly composed, rhythmicized melodies (some reflecting twentiethcentury s o u n d patterns) i n Part O n e a r e mastered, these m o r e difficult melodies f r o m the literature will b e far easier to c o m p r e h e n d musically a n d t o perform. Even t h o u g h I w o u l d like t oemphasize the importance o f reading music without the help o f an instrument, I have supplied the accompanied melodies i n the n e w C h a p t e r X V I I s o that students will b e able to h o n e their sight-readi n g w i t h a n a c c o m p a n i m e n t asw e l l . F d l i k e t oe n c o u r a g e t h e i n s t r u c t o r t o use t h e i n s t r u m e n t s specified i n t h e score, a n d also t o consider a c c o m p a n y i n g (i.e., d o u b l i n g ) t h e p r e - B a r o q u e c h o r u s e s w i t h a n y i n s t r u m e n t s t h a t are availa b l e t ot h e class. A l l t h i s w i l l a d d e x c i t e m e n t a s w e l l a s r e l e v a n c e t ot h e i m p o r tant task o f teach i n g sight singing today.

The

Melodic Exercises

I n o r d e r t o s t r e a m l i n e t h e p e d a g o g i c a l process, I h a v e clearly d e l i n e a t e d several types o f exercises f o r practice a n d p e r f o r m a n c e t h a t r e c u r i n e a c h chapter of Part One.

x

P R E P A R A T O R Y

A N D

N O N R H Y T H M I C E X E R C I S E S

M E L O D I E S F R O M

T H E

L I T E R A T U R E

N E W L Y

C O M P O S E D M E L O D I E S

A f t e r t h e P r e p a r a t o r y a n d S o u n d t h e P i t c h a n d S i n g exercises o n t h e specific i n t e r v a l itself, t h e r e isa section o f N o n r h y t h m i c Exercises t h a t allows t h e stud e n t to practice the interval i n a m e l o d i c context. These s h o u l d b e p e r f o r m e d i n the f o l l o w i n g m a n n e r : give the o p e n i n g p i t c h o nt h e p i a n o o r a n o t h e r i n s t r u m e n t a n d t h e n h a v e t h e s t u d e n t o r c l a s s s i n g t h e e n t i r e e x e r c i s e a cappella. T h e p h r a s e s w i t h i n t h e n o n r h y t h m i c e x e r c i s e s a r e set o f f b y rests, b u t b r e a t h s m a y b e t a k e n a n y w h e r e as needed. T h e n e x t type o fexercise consists o f m e l o d i e s f r o m actual m u s i c l i t e r a t u r e — a l m o s t a l l o f t h e m t o n a l . A l l o f t h e s e m e l o d i e s concéntrate o n t h e i n t e r v a l i n q u e s t i o n b u t also c o n t a i n o t h e r i n t e r v a l s . S o m e o f t h e m e l o d i e s are c o n f l a tions, d r a w n f r o m m o r e t h a n one section w i t h i n a piece, t o allow for a m o r e systematic presentation o fthe intervals u n d e r study aswell asa m o r e logical e n d i n g to some o f the excerpts. Perhaps it w o u l d b e h e l p f u l for the instructor to w a r n t h e s t u d e n t o f especially d i f f i c u l t spots, a l t h o u g h I t o o k great pains t o m i n i m i z e s u c h instances w h e n choosing t h e m a t e r i a l to b e i n c l u d e d w i t h i n this secüon. M e l o d i e s f r o m t h e l i t e r a t u r e s h o u l d s i m p l y b e p e r f o r m e d w e l l b y t h e s t u d e n t s i n c l a s s , a cappella. T h e last type o f e x e r c i s e c o m p r i s e s n e w l y c o m p o s e d m e l o d i e s w i t h r h y t h m t h a t concéntrate o n t h e p a r t i c u l a r i n t e r v a l u n d e r s t u d y . I n t h e s e e x e r c i s e s , o n e o r m o r e t o n a l centers m a y b e i n o p e r a t i o n , since m a n y c o n t a i n m o d u l a t o r y patterns a n d therefore are necessarily m o r e chromatic. T h e s e exercises are by far the most challenging ones offered i nPart O n e a n d I therefore have placed t h e m last a m o n g t h e sets o f e x e r c i s e s f o r e a c h c h a p t e r . T h e y s h o u l d b e pract i c e d c a r e f u l l y a n d s u n g a t first p u r e l y b y i n t e r v a l ; a f t e r s e v e r a l r e p e t i t i o n s , w h e n e a c h p i e c e i s i n t e g r a t e d i n t o t h e s t u d e n t ' s m u s i c a l p s y c h e a n d ear, t h e tonal scheme will become apparent. A l t h o u g h I have strived t o present t h e various types o f exercises i n a n order that progresses f r o m easier to m o r e difficult, a n instructor certainly m a y present t h e m i n a d i f f e r e n t order, o r m a y elect to focus o n s o m e types o f exercises a n d n o t o t h e r s . I n classes w h e r e t h i s b o o k i s u s e d o v e r t h e c o u r s e o f several semesters, a ni n s t r u c t o r c o u l d , f o r instance, cover C h a p t e r I a n d t h e prel i m i n a r y a n d n o n r h y t h m i c exercises o f Chapters I It h r o u g h V I I i nthe first semester, the melodies f r o m the literature i n these chapters i nthe second semester, the n e w l y composed, r h y t h m i c i z e d melodies i nthe third, a n d the m o r e d i f f i c u l t i n t e r v a l s , altérnate s c a l e s , a n d c h o r d s ( C h a p t e r s V I I I , I X , a n d X ) i n t h e f o u r t h semester. O f course, a n y o t h e r c o m b i n a t i o n i salso possible. I n the end, w h a t isi m p o r t a n t isthat the student master all o f the material, n o m a t t e r the order i n w h i c h this isdone. T h e ability t o sing all intervals w i t h i n any musical context, t o n a l o r n o n tonal, isthe goal o f this text.

T H E U S E O F K E Y S I G N A T U R E S

A N D

A C C I D E N T A L S

A w o r d o f explanation about key signatures isi n o r d e r regarding the exercises i n P a r t O n e . Since it is t h e practice o f m a n y c o n t e m p o r a r y c o m p o s e r s — e s p e cially since 1 9 5 0 — t o f o r e g o the use o f key signatures because o f the c h r o m a t i c nature o f their music, I have dispensed w i t h using key signatures after Chapter II except within the music f r o m standard literature, the duets, a n d the canons. W h i l e I believe that i n c l u d i n g the original key signatures isnecessary w h e n dealing w i t h music that isalready composed, I felt that i n the exercises i t is e n o u g h f o r t h e s t u d e n t t o s i g h t - r e a d , c o n c e n t r a t i n g o n t h e i n t e r v a l s per se,

xi

w i t h o u t also h a v i n g to w o r r y a b o u t a key signature, w h i c h suggests o n e particular tonality w h e r e m o r e t h a n o n e m a y b e i m p l i e d . O fcourse, w h e n dealing w i t h s p e c i f i c m a j o r a n d m i n o r scales, as i n t h e e x e r c i s e s i n C h a p t e r I I , k e y signatures are used. I n t h e n o n r h y t h m i c e x e r c i s e s , a l l accidentáis a p p l y o n l y t o t h e n o t e s t h a t t h e y p r e c e d e . I f t h a t p i t c h i s i m m e d i a t e l y r e p e a t e d a n d t h e r e i s n o r e s t t o sepár a t e t h e n o t e s , t h e a c c i d e n t a l a p p l i e s t o t h e r e p e a t e d n o t e as w e l l .

A Note about Vocal Ranges S o m e o f t h e i n s t r u m e n t a l a n d e v e n a f e w o f t h e vocal e x a m p l e s f r o m m u s i c literature that are i n c l u d e d i n this text have a larger, lower, o r h i g h e r r a n g e t h a n the student is able t o master. T h i s situation is o f t e n e n c o u n t e r e d i n real-life p e r f o r m a n c e contexts, w h e n w e are forced to switch octaves i n the m i d d l e o f a p a s s a g e — o r f o r t h e w h o l e p a s s a g e — i n o r d e r to p e r f o r m it. T h i s w o u l d certain.l y b e t r u e w h e n t h o s e s o p r a n o s w h o h a v e t r o u b l e r e a c h i n g a n F¡¡ b e l o w m i d d l e C try t o sing the following excerpt f r o m Brahms's S y m p h o n y N o . 2 (#16, Chapter X V I ) ; they m a y choose to sing the w h o l e passage u p an octave.

C h o o s i n g exactly w h e r e t o m a k e the octave switch i na passage m u s t o f n e c e s s i t y b e l e f t u p t o t h e i n d i v i d u a l p e r f o r m e r , b u t t o p r a c t i c e s u c h s h i f t s is, I t h i n k , a n i m p o r t a n t a c t i v i t y f o r a s i g h t s i n g i n g class. C o m p o s e d melodies— especially the ones students have t o p e r f o r m o n their i n s t r u m e n t s — d o n o t take i n t o consideration the n o r m a l range o f the h u m a n voice; yet teachers freq u e n t l y ask t h e i r students t o sing a m e l o d y f o r r h y t h m i c a n d expressive p u r poses before playing it o n their instruments. Such melodic shifting i n the exercises i n t h i s b o o k c a n o c c u r i n t h e f o l l o w i n g w a y :

Original: Mozart, S y m p h o n y N o . 4 0 (transposed), f r o m C h a p t e r IV

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The

Canons and Duets

The canons have been retained i n this edition because I feel that i t iso f utmost importance that students learn t o"hold their o w n " w h e n part singing, and w h a t better way to practice this t h a n w i t h rather complicated canons f r o m all creative p e r i o d s o f music? A s far as I a m c o n c e r n e d t h e r e isn o t h i n g better f o r t h e ear. T h i s was also m y r a t i o n a l e f o r a d d i n g d u e t s t o t h e n e w e d i t i o n .

Some Teach i ng Strategies for Combining the Melodic and Rhythmic Exercises I'd like t ou r g e a pedagogically effective use o fParts O n e a n d T w o , w h i c h I believe m u s t b e used concurrendy. L e t m e o u t l i n e o n e strategy that y o u m a y find successful:

S U G G E S T E D P A I R I N G S O F M E L O D I C A N D R H Y T H M I C

L E S S O N S

Melodic L e s s o n in Part O n e

Rhythmic L e s s o n in Part T w o

Chapter I

Chapter X I

Chapter I I

Chapters X I I and XIII, the Preparatory Exercises i n each section (except for Anacrusis and Syncopation)

Chapter III

Chapter X I I ,the Preparatory Exercises for Anacrusis and Syncopation, plus C h a p t e r s X I I a n d X I I I , t h e first h a l f o f t h e Regular Exercises i n each section

Chapter I V

T h e rest o f Chapters X I I a n d X I I I

Chapters V and V I

Chapters X T V and X V , the Preparatory Exercises i n each section

xlll

Chapter V I I

C h a p t e r s X I V a n d X V , t h e first h a l f o f t h e Regular Exercises

Chapter VIII

T h e rest o f Chapters X I V a n d X V a n d review o f Chapters X I I - X V , the most difficult exercises

I n Chapters I I a n d I I I , I suggest that particular r h y t h m i c exercises f r o m Part T w o b e drilled before singing certain melodies f r o m the literature; this will h e l p w i t h t h e r h y t h m i c p e r f o r m a n c e o f the m e l o d y . I give these references o n l y as suggestions, since t h e students already m a y b eversed i n these r h y t h m i c patterns. I also w o u l d l i k e t o e n c o u r a g e a b i t m o r e c r e a t i v i t y f o r o u r skills classes b y having the students o rthe instructor c o m b i n e the i n t e r v a l a n d pitch exercises in Part O n e w i t h the r h y t h m i c exercises i n Part T w o . H e r e are three examples o f h o w I believe this m a y b e accomplished. A l l three use R e g u l a r R h y t h m i c Exercise # 8 f r o m C h a p t e r X I I (p. 180): #8, Chapter XII

b u t t w o use n o n r h y t h m i c m e l o d y # 4 f r o m C h a p t e r I I (p. 24) a n d t h e t h i r d uses n o n r h y t h m i c m e l o d y #5 f r o m Chapter I I I (p. 35): # 4 , C h a p t e r II

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T h i s p r o c e s s c a n b e q u i t e creaüve o n t h e p a r t o f e i t h e r t h e i n s t r u c t o r o r t h e student!

Fixed Do Versus Movable Do I r e m a i n n e u t r a l as t o t h e a d o p t i o n o f a n y specific m e t h o d o fsight singing. W h i l e I t h i n k t h e " f i x e d do" s y s t e m m a y b e m o r e e a s i l y a p p l i e d t o n o n t o n a l o r m o d u l a t o r y m a t e r i a l , w a y s c a n b e f o u n d t o u s e t h e " m o v a b l e do" m e t h o d f o r the same material, simply w i t h certain modifications. T h i s b o o k is n o w m o r e c o n d u c i v e t o t h o s e i n s t r u c t o r s w h o c h o o s e t o u s e m o v a b l e do, s i n c e I h a v e a d d e d m a n y t o n a l e x c e r p t s f r o m past centuries. N u m b e r s o rn e u t r a l syllables, s u c h as " l a , " " t a , " " d a , " " d u , " etc., c e r t a i n l y c a n also w o r k w e l l , a n d t h e s e syllables s h o u l d b e used w h e n p e r f o r m i n g t h e p u r e l y r h y t h m i c exercises i n P a r t Two. H u m m i n g must b ediscouraged because it obscures articulation of melody as w e l l a s o f r h y t h m a n d i s o f t e n a n e b u l o u s , n o n s p e c i f i c s o u n d b e h i n d w h i c h a student may hide without being one h u n d r e d percent accurate i n her performance of either a melody or rhythm.

Using the Material for Dictation Exercises I w o u l d l i k e t o stress t h e i m p o r t a n c e o f a d u a l a p p r o a c h t o sight s i n g i n g , n a m e l y : actual singing, o f course, b u t also dictation. T h e m e l o d i e s o r r h y t h m s s h o u l d b e dictated n o t o n l y f r o m t h e p i a n o b u t also f r o m students p l a y i n g vario u s i n s t r u m e n t s . A s is w e l l k n o w n , m a n y p e o p l e a r e a b l e t o h e a r i n t e r v a l s a n d m e l o d i e s better w h e n played o n a v i o l i n , o b o e , o rs a x o p h o n e t h a n s i m p l y dictated f r o m a piano. Dictation using a variety o f instruments a n d voices is very h e l p f u l a n d provides a certain relief f r o m the constant use o f the piano. A n y o f the exercises i n Parts O n e , T w o , or T h r e e can b e used for dictation purposes. I t is m y s i n c e r e h o p e t h a t t h i s v o l u m e w i l l h e l p s t r e n g t h e n m u s i c a l l i t e r a c y i n its a p p l i c a t i o n t o all k i n d s o f m u s i c , r e g a r d l e s s o f style o r t o n a l o r g a n i z a t i o n . F u r t h e r , I h o p e i t w i l l facilítate t h e i n s t r u c t i o n o f t h i s m o s t c r u c i a l s u b j e c t a t a t i m e w h e n m u s i c m a k i n g , i n a l l its m a n i f e s t a t i o n s , i s p r o l i f e r a t i n g w i l d l y a n d t h e m u l t i p l i c i t y o f m u s i c a l styles a n d t e c h n i q u e s has b e c o m e a p e r m a n e n t reality.

xv

Acknowledgments I a m i n d e b t e d t oa great n u m b e r o f people w h o have m a d e it possible for m e to rewrite the o r i g i n a l text. First o fall, I w i s h t o t h a n k Claire B r o o k , the form e r M u s i c E d i t o r a tW . W . N o r t o n , for h e r e n c o u r a g e m e n t to write a second edition. N e x t , I a m m o s t grateful t o t h e students a n d colleagues a t t h e E a s t m a n S c h o o l o fM u s i c a n d the various o t h e r schools a tw h i c h F v e b e e n a guest f o r the excellent c o m m e n t s a n d suggestions they have so t h o u g h t f u l l y given t o m e . A special t h a n k s m u s t g o t o the "official" readers o f the m a n u script, w h o r e m a i n a n o n y m o u s t om e . T h e i r critique was invaluable a n d t h e i r guidance m o s t w e l c o m e i n s h a p i n g n e w ideas i n this e d i t i o n . Last, b u t certainly n o t least, m y g r a t i t u d e goes t o m y p r e s e n t e d i t o r a tW . W . N o r t o n , S u z a n n e L a Plante, w h o was patient, u n t i r i n g , a n d ever soh e l p f u l i n every aspect o f the revisión. I t w a s a p r i v i l e g e a n d p l e a s u r e t o w o r k w i t h s o m e o n e w h o p o s s e s s e s such genuine knowledge o f the subject a n d w h o isso t h o r o u g h a n d dedicated in h a n d l i n g every detail w h i c h h a d t og o i n t o the finishing o fthis second edition. I c a n n o t t h a n k h e r e n o u g h . S a m u e l Adler, 1996

xvi

S I G H T

S I N G I N G

P I T C H o INTERVAL o RHYTHM S E C O N D EDITION

INTRODUCTION

Sight Singing by Interval and Rhythm T h e o b j e c t o f t h e e x e r c i s e s i n t h i s b o o k i s t o l e a r n t o r e a d all m u s i c a t s i g h t . E a c h chapter i n "Part O n e : M e l o d i c Studies" offers three types o f practice e x a m p l e s : a s e r i e s o f e x e r c i s e s t h a t concéntrate o n l y o n i n t e r v a l l i c r e l a t i o n ships, m e l o d i c exercises d r a w n f r o m m u s i c l i t e r a t u r e , a n d n e w l y c o m p o s e d , " r h y t h m i c i z e d " m e l o d i e s that focus o n the particular i n t e r v a l u n d e r study. F o r addiüonal p r a c t i c e , c o l l e c t i o n s o f d u e t s a n d c a n o n s a r e p r e s e n t e d i n c h a p t e r s r V , V I , V I I , V I I I a n d I X . T h e c h a p t e r s i n " P a r t T w o : R h y t h m i c S t u d i e s " concéntrate o n m a n y aspects o f r e a d i n g r h y t h m . A n d "Part T h r e e : A d d i t i o n a l Material f o r Study a n d Review" offers m a n y m o r e exercises f r o m the literature in addition to some works to b e sung i n parts a n d others to b e p e r f o r m e d w i t h a c c o m p a n i m e n t . Y o u o r y o u r teacher m a y also use any o fthe m a t e r i a l i n this b o o k asd i c t a t i o n exercises.

Melodic Studies T o h e a r a n d s i n g b y i n t e r v a l s u c c e s s f u l l y y o u m u s t b e a b l e t o instanüy r e c o g n i z e a l l p i t c h e s o n , a b o v e , a n d b e l o w t h e staff i n b o t h t h e t r e b l e a n d bass clefs. E a c h s e t o f m e l o d i c exercises i s p r e c e d e d b y specific directions, w h i c h y o u s h o u l d f o l l o w v e r y closely. P R E P A R A T O R Y E X E R C I S E S

N O N R H Y T H M I C E X E R C I S E S

You should begin b y singing all intervals within the preparatory and other m e l o d i c exercises i n Part O n e very slowly, striving f o r perfect i n t o n a t i o n . P r a c t i c e e a c h i n t e r v a l s e p a r a t e l y s o t h a t y o u c a n firmly e s t a b l i s h i t s u n i q u e characteristics i n y o u r ear a n d b eable t op e r f o r m it w h e n e v e r y o u seeit o n a p r i n t e d p a g e . L a t e r , w h e n t h e i n t e r v a l l i c r e l a t i o n s h i p s a r e firmly i m p l a n t e d i n y o u r ear, y o u m a y b e g i n t o s i n g a l l e x e r c i s e s at m u c h faster a n d f r e e r t e m p o s . T h e n o n r h y t h m i c scalar exercises i n C h a p t e r I I have key signatures because t h e y are b a s e d o n m a j o r a n d m i n o r scales. Y o u w i l l n o t i c e , h o w e v e r , t h a t f r o m C h a p t e r I I I o n w a r d n o key signatures are given w i t h i n these exercises; instead, i n d i v i d u a l n o t e s a r e p r e c e d e d b y accidentáis ( w h e r e a p p l i c a b l e ) s o t h a t y o u w i l l concéntrate o n t h e i n t e r v a l per se. A l l accidentáis i n t h e n o n r h y t h m i c e x e r cises a p p l y o n l y t o t h e n o t e s t h a t t h e y p r e c e d e . I f t h a t p i t c h i s i m m e d i a t e l y

1

r e p e a t e d a n d t h e r e i s n o r e s t t o sepárate t h e n o t e s , t h e a c c i d e n t a l a p p l i e s t o t h e r e p e a t e d n o t e as well. T h e rests i n these exercises are t ob e t a k e n as suggestions f o r p e r f o r m a n c e only. M E L O D I C

E X A M P L E S F R O M

T H E

L I T E R A T U R E

T h e excerpts f r o m music literature range f r o m the medieval period to the present, a n d will h e l p i n the study a n d p e r f o r m a n c e o f all intervals. L i k e the n o n r h y t h m i c exercises, these examples a r en o t exclusively m a d e u p o f the o n e interval b e i n g stressed i n the given chapter, b u t they d oc o n t a i n a concentrat i o n o f t h a t i n t e r v a l a n d w i l l g r e a t l y h e l p i n c l a r i f y i n g its s o u n d i n y o u r ear. T h e excerpts f r o m music literature a r em a r k e d w i t h t e m p o indications, m e t r o n o m e m a r k i n g s , or b o t h . Practice each exercise slowly, a n d t h e n carefully b r i n g i t u p t o t e m p o .

S P E C I A L L Y

C O M P O S E D

M E L O D I E S F O R T H E P R A C T I C E OF P A R T I C U L A R I N T E R V A L S

D U E T S A N D C A N O N S

T o w a r d the e n d o f each chapter we have provided melodies that feature a l a r g e n u m b e r o f accidentáis. S o m e a r e n o t n e c e s s a r i l v c e n t e r e d a r o u n d o n e p a r t i c u l a r k e y b u t c o n t a i n i n t e r v a l l i c p a t t e r n s t h a t reílect m o c l u l a t i o n s t o o t h e r keys. W h i l e t h e m e l o d i e s all have o n e o rm o r e t o n a l centers, w h i c h w i l l reveal themselves as y o u m a s t e r these exercises, t h e best w a y t o a p p r o a c h t h e m is purely by interval. S i n g each exercise slowly, concentrating o n o n e i n t e r v a l at a time. I n d o i n g this y o u s h o u l d have n o trouble g a i n i n g mastery o f the intervals contained within these melodies. W e offer duets a t the e n d o f Chapters I V , V I I I , a n d I X to give y o u practice i n applying intervals b o t h melodically and harmonically. Like the other melodic examples i n Part One, each duet concentrates o n t h eparticular intervals u n d e r study but contains other intervals as well. T h o s e i n Chapter I X , o f course, contain all intervals. T h e practice o fsinging canons o rr o u n d s dates back m a n y centuries. W e offer a series o fc a n o n s i nChapters I V , V I , a n d V I I because they p r o v i d e u s with "instant" polyphony and thus constitute another very important way t o h a r m o n i c a l l y train o u r ears. M a n y o fthese c a n o n s will challenge y o u t o conc e n u a t e o n s i n g i n g a r a t h e r d i f f i c u l t l i n e , a n d asy o u t r y t o p e r f o r m i t perfectly, l i s t e n t o t h e r i c h h a r m o n y t h a t i s c r e a t e d a s t h e r o u n d i s r e a l i z e d b y t h e additional entrances.

Rhythmic Studies Since the object o fthis v o l u m e is t o teach y o u t o read all music a t sight, the ability t o sing every m u s i c a l w o r k u s i n g t h ec o r r e c t n o t a t e d r h y t h m s is as i m p o r t a n t as p e r f o r m i n g the pitches correctly. T h e r h y t h m i c exercises i n P a r t T w o s h o u l d b e p r a c t i c e d s l o w l y a t first a n d b r o u g h t u p t o a s p e e d t h a t w i l l s u i t each exercise. A t various points i n Part O n e , directions are given to practice a p a r t i c u l a r r h y t h m i c e x e r c i s e o r set o f e x e r c i s e s f r o m P a r t T w o i n o r d e r t o facilitate y o u r p e r f o r m a n c e o f t h e r h y t h m f o u n d i n a m e l o d i c excerpt. W e r e c o m m e n d that the r h y t h m i c exercises i n Part T w o b e studied along w i t h t h e n o n r h y t h m i c , i n t e r v a l l i c e x e r c i s e s i n P a r t O n e . Y o u m a y altérnate i n t e r v a l c h a p t e r s w i t h r h y t h m c h a p t e r s , o r y o u m a y créate y o u r o w n p i e c e s f r o m the "given" notes contained i n the n o n r h y t h m i c exercises, a d d i n g i n y o u r o w n r h y t h m i c patterns a n d o t h e r types o f a r t i c u l a t i o n , o r d r a w i n g o n those that are c o n t a i n e d i n the r h y t h m i c exercises. ( T h e preface contains s o m e sug-

gestions o f h o w t oc o m b i n e these t w o musical aspects.) T h i s process will help y o u better p e r f o r m the examples that are d r a w n f r o m music literature.

Additional Material for Study and Review T h e m a t e r i a l c o n t a i n e d i n P a r t T h r e e m a y b e u s e d a t a n y time d u r i n g t h e study o f Parts O n e a n d T w o , w h e n e v e r y o u r instructor feels that these excerpts w o u l d b e n e f i t y o u r study. O n t h e o t h e r h a n d , t h e y m a y s i m p l y b e used as review exercises a tthe e n d o f the study o f the intervals a n d r h y t h m s . T h e fiftyfive m e l o d i e s f r o m m u s i c l i t e r a t u r e t h a t a r e c o n t a i n e d i n C h a p t e r X V I s p a n a b o u t five h u n d r e d y e a r s ; a b o u t h a l f o f t h e m a r e f r o m t h e t w e n t i e t h c e n t u r y . I f you have thoroughly mastered all o fthe individual intervals covered i n Part O n e as w e l l as t h e r h y t h m i c exercises i n P a r t T w o , these excerpts s h o u l d n o t prove too difficult t o handle. A g a i n , each m e l o d y s h o u l d b e carefully practiced, b e g i n n i n g at a r e d u c e d speed before b r i n g i n g it u p to t e m p o . T h e material i n C h a p t e r X V I I provides a n o p p o r t u n i t y f o r y o u t o b e i n v o l v e d i n e n s e m b l e s i n g i n g as w e l l as t o p e r f o r m w i t h i n s t r u m e n t a l a c c o m p a n i m e n t . T h e c h o s e n w o r k s are chronologically arranged, b e g i n n i n g w i t h the sixteenth century and ranging into the twentieth. A t the discretion o f your instructor, the melodies f r o m this chapter i n Part T h r e e m a y b e introduced a t any time d u r i n g the sequential study o f individual intervals.

For these sight singing exercises, y o u m a y s o u n d the starting pitch for the m e l o d i c exercises o n a p i a n o o r a n y o t h e r i n s t r u m e n t . It's best t o m a t c h as m a n y d i f f e r e n t t i m b r e s as possible, b o t h i n s t r u m e n t a l a n d vocal, so t h a t y o u w i l l continué t o s h a r p e n y o u r a u r a l p e r c e p t i o n . H o w e v e r , i t i s s t r o n g l y u r g e d t h a t y o u s o u n d o n l y t h e first p i t c h o f e v e r y e x e r c i s e a n d t h e n s t u d y i t a cappella ( w i t h o u t i n s t r u m e n t s ) . I fy o u d o this w i t h all the exercises i ne a c h chapter faithfully a n d carefully, y o u s h o u l d eventually b e able to p e r f o r m the exercises w i t h ease.

3

P A R T

O

N

E

Melodic

Studies

CHAPTER I

LEARNING ABOUT SCALES AND INTERVALS

Scales and Their Relationships Before w e are able to identify all intervals w e m u s t learn about the structure o f m a j o r a n d m i n o r s c a l e s , s i n c e t h e t e r m s major a n d minor o c c u r f r e q u e n t l y i n the designation o f m a n y intervals. W e will seethat these intervals are used t o b u i l d o u r m a j o r a n d m i n o r scales as w e l l as m a n y o f t h e o t h e r types o f scales t h a t w e w i l l t r e a t i n C h a p t e r I X . W e w i l l u s e t h e first p o r t i o n o f t h i s c h a p t e r t o study m a j o r a n d m i n o r scale c o n s t r u c t i o n , t h e k e y s i g n a t u r e f o r e a c h scale, a n d t h e v a r i o u s r e l a t i o n s h i p s b e t w e e n m a j o r a n d m i n o r scales, a n d d e v o t e t h e second p o r t i o n o f the chapter t o the spelling a n d notation o f intervals. W e will p o s t p o n e t h e actual s i n g i n g o f scales u n t i l C h a p t e r I I . T H E

R E L A T I O N S H I P O F

K E Y S

W e w i l l l e a r n s c a l e s q u i c k l y i f w e first t e a c h o u r s e l v e s t o i n s t a n t l y r e c o g n i z e k e y signatures. H o w k e y signatures a r erelated c a nb e s h o w n b yt h e "circle o f fifths" (given below), w h i c h begins a tthe t o p with the key o f C major (with n o s h a r p s o r fíats i n i t s s i g n a t u r e ) a n d continúes c l o c k w i s e b y s h o w i n g t h e m a j o r keys w i t h a g r o w i n g n u m b e r o fsharps a n d counterclockwise b ys h o w i n g t h e m a j o r k e y s w i t h a g r o w i n g n u m b e r o f fíats. R e l a t i v e m i n o r k e y s a r e p l a c e d inside this circular d i a g r a m , o p p o s i t e t h e i r m a j o r c o u n t e r p a r t s . S t u d y t h e circ l e o f fifths c a r e f u l l y a n d m a s t e r i t s l o g i c a s w e l l a s t h e c o r r e l a t i o n b e t w e e n m a j o r scales a n d t h e i r r e l a t i v e m i n o r s . ( n o fíats) ( n o sharps)

T h e Circle of Fifths

(6 sharps) (6 fíats) LEARNING A B O U T S C A L E S A N DI N T E R V A L S

CHAPTER I

7

M A J O R S C A L E S T H E I R

A N D

R E L A T I V E M I N O R S

N o w let u s s t u d y t h e s t r u c t u r e o f m a j o r a n d m i n o r scales. I n t h e d i a g r a m s below, r o u n d e d brackets above t h enotes signify w h o l e steps a n d a n g u l a r brackets b e l o w t h e notes, h a l f steps. A h a l f step is t h e shortest difference b e t w e e n t w o p i t c h e s i n e i t h e r direcüon: A — B b o r A — A t ; w h i l e a w h o l e s t e p i s m a d e u p o f t w o h a l f s t e p s i n e i t h e r direcüon: A - ( A f ) — B o r A - ( A t ) - G . T h e m a j o r scale isc o n s t r u c t e d i n t h e f o l l o w i n g m a n n e r : 8(D 3 5

T h e r e a r e t h r e e t y p e s o f m i n o r s c a l e , e a c h c o n s t r u c t e d slighüy differenüy.

1 Natural, Simple, Modal, o r Puré M i n o r

As t h e m e l o d i c m i n o r ascends, t h e s i x t h a n d s e v e n t h scale degrees a r e raised; they a r e l o w e r e d again w h e n descending. T h e descending melodic m i n o r i s l i k e t h e n a t u r a l m i n o r s c a l e . O n a r a r e o c c a s i o n , y o u w i l l find t h e ascending f o r m o f t h e m e l o d i c m i n o r scale u s e d w h e n descending.

1

3 Harmonio Minor

2

3

4

5

6

1 1/2 7

8

1 1/2 7

6

5

4

3

2

1

T h i s scale ist h e s a m e as t h e n a t u r a l m i n o r , e x c e p t t h a t t h e s e v e n t h d e g r e e i s r a i s e d b o t h a s c e n d i n g a n d d e s c e n d i n g , creaüng a n i n t e r v a l o f o n e a n d o n e h a l f steps b e t w e e n t h e s i x t h a n d s e v e n t h scale degrees. T H E R E L A T I O N S H I P B E T W E E N M A J O R A N D M I N O R S C A L E S

E a c h m a j o r scale has a relative m i n o r scale. T h e k e y s i g n a t u r e f o r b o t h t h e m a j o r scale a n d its r e l a t i v e m i n o r is t h e s a m e , as is t h e c o l l e c t i o n o f n o t e s c o n t a i n e d w i t h i n each, b u t t h a t is t h e e x t e n t o f t h e r e l a t i o n s h i p . E a c h scale starts o n a d i f f e r e n t n o t e , f h e r e b y a r r a n g i n g t h e n o t e s i n a d i f f e r e n t o r d e r . T o find t h e relative m i n o r o f a m a j o r scale, c o u n t d o w n t h r e e h a l f steps ( a m i n o r third) f r o m the key (tonic) note: • C m a j o r t o A m i n o r ( b o t h h a v e n o s h a r p s o r fíats i n t h e k e y s i g n a t u r e ) , o D m a j o r to B m i n o r ( b o t h have t w o sharps i n the key signature).

8

CHAPTER I

L E A R N I N G A B O U T S C A L E S A N D I N T E R V A L S

C o n v e r s e l y , t o find t h e r e l a t i v e m a j o r o f a m i n o r s c a l e , c o u n t u p t h r e e h a l f steps ( am i n o r t h i r d ) f r o m the key (tonic) n o t e : • F m i n o r t o A t m a j o r ( b o t h h a v e f o u r fíats i n t h e k e y s i g n a t u r e ) , • E m i n o r to G major (both have one sharp i n the key signature). H e r e isthe full table o f key signatures: Major

u ' i ' W

t ^ l h " a

Relative Minor

e

b

fl

;|»»V | ! » i ' > , » | | ^ H

cd

gt

di

- a i

Major

F

Bb

Eb

Ab

Db

Gb

Cb

Relative Minor

d

q

c

f

bb

et>

ab

W R I T T E N

E X E R C I S E S

W r i t e o u t t h e f o l l o w i n g scales b y h a l f a n d w h o l e steps, w i t h o u t u s i n g key signatures.

Example B minor melodic

D minor, melodic Eb m a j o r F minor, harmonic A major Cl major Ct minor, simple FU m a j o r C minor, harmonic

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

D major At major

11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

A minor, Eb m i n o r , G minor, G major Db m a j o r E major Fí m i n o r , Bb m i n o r , Bb m a j o r Ct major

melodic harmonic simple

melodic harmonic

W r i t e o u t t h e t w e n t y scales a b o v e i n b o t h t h e t r e b l e a n d bass clefs, u s i n g k e y signatures. Example B minor melodic

Example B minor melodic

SE^S

o

LEARNING A B O U T S C A L E S A N D I N T E R V A L S

CHAPTER I

9

Identifying Intervals N o w w e will study t h e n o t a t i o n a n d spelling o fall intervals that are contained w i t h i n t h e octave, asw e l l as t h o s e t h a t a r e b e t w e e n o n e a n d t w o o c t a v e s i n size. Starting i n the next chapter w e will begin t osing a n d hear all intervals within the octave separately, o n e b y o n e . CLASSIFICATION

O F

I N T E R V A L S

A n i n t e r v a l is t h e distance b e t w e e n a n y t w o musical p i t c h e s — i n o t h e r words, t h e difference o r a m o u n t o f aural space between t w o musical tones. I n o u r western musical system w e divide intervals i n t o t w o groups: 1 those t h a t a r e s m a l l e r t h a n a n octave, o r w i t h i n t h e c h r o m a t i c scale o f a n octave ( C - C ) ; 1

2 those that are larger t h a n a n octave.

Intervals w i t h i n t h e octave are t h e f o l l o w i n g : Simultaneously N o t a t e d

Unisón ( P r i m e )

2nd

— # ~W> —

Tí

ñ

—y éi

o

o

#

&

1

or o »

1

or

-

»

•

©

11

&

or

€1

o

1

or

ñ

—y

6

u

"

n

o

r°

—y -*P

7th

ÍQ

H

v

6th

e

Ü5

'•T

5th

e

or

*>

4th

N o t a t e d

y9

- W

3rd

Successively

o

— y

f»

1

or

V»

(1

"

O

or

10

CHAPTER I

"O"

or

or

,

1

BQ...

ii

8ve

* M )

fcro

3«

A .

°

e

o T T

L E A R N I N G A B O U T S C A L E S A N D I N T E R V A L S

Intervals larger t h a n a n octave are the f o l l o w i n g : Simultaneously

9 t h (a 2 n d p l u s a n octave)

/

0

1 0 t h (a 3 r d p l u s a n octave)

~~¡f

r°

Notated

Successively

Notated

i — r °

1 «»

1 1 t h (a 4 t h p l u s a n octave)

1 2 t h (a 5 t h p l u s a n octave)

1 3 t h (a 6 t h p l u s a n octave)

o

•oo

1 4 t h (a 7 t h p l u s a n octave)

or

O 15th ( c o m p o u n d 8ve or two 8ves)

T Y P E S

O F I N T E R V A L S

or

O

T h e intervals w i t h i n the octave

are called unisons, seconds, thirds, fourths,

fifths, sixths, a n d sevenths. T h e s e intervals fall i n t o t w o d i f f e r e n t categories d e p e n d i n g o n h o w t h e y a r e f o r m e d . T h e i n t e r v a l s w i t h i n t h e first c a t e g o r y a r e seconds, thirds, sixths, a n d sevenths, w h i c h m a y b e " m a j o r " ( M ) , " m i n o r " ( m ) , "diminished" (d), o r "augmented" ( A ) . A n oft-repeated, simple rule f o r r e m e m b e r i n g t h e classificaüon o f t h e s e f o u r i n t e r v a l s i s t h e f o l l o w i n g : • t h e i n t e r v a l ism a j o r i f t h e u p p e r n o t e isi n t h e m a j o r scale o f t h e l o w e r note; • t h e i n t e r v a l is m i n o r i f t h e u p p e r n o t e is i n t h e m i n o r scale o f t h e l o w e r note; • the i n t e r v a l isa u g m e n t e d i f the u p p e r n o t e iso n e h a l f step h i g h e r t h a n the upper note of the major (or perfect) interval: C u p to E isa m a j o r t h i r d C u p t o E i isa n a u g m e n t e d

third;

o t h e i n t e r v a l is d i m i n i s h e d i f t h e u p p e r n o t e i s o n e h a l f s t e p l o w e r t h a n the upper note of the m i n o r (or perfect) interval: C l u p to B isa m i n o r 7 t h C t u p t o Bb is a d i m i n i s h e d 7 t h .

L E A R N I N G A B O U T S C A L E S A N D I N T E R V A L S

CHAPTER I

1 1

T h e r e f o r e , i f w e o r d e r t h e intervals a c c o r d i n g t o h a l f steps f r o m s m a l l t o large, w e have d i m i n i s h e d (d2, d3, d6, d 7 ) , m i n o r ( m 2 , m 3 , m 6 , m 7 ) , major (M2, M 3 , M 6 , M 7 ) , a n d then augmented intervals (A2,A 3 , A 6 , A 7 ) . T h e a b o v e r u l e ish e l p f u l i f t h e s t u d e n t uses i t carefully, b u t i t does h a v e its limitations; for one thing, it does n o t allow f o r the m i n o r second, for instance, f r o m C t o Db. W e k n o w t h a t t h e s e c o n d scale d e g r e e i n t h e m i n o r scale, l i k e t h a t i n t h e m a j o r scale, lies a m a j o r s e c o n d r a t h e r t h a n a m i n o r s e c o n d a b o v e t h e s c a l e ' s first n o t e . T h e r e f o r e t h e s e c o n d s c a l e d e g r e e i n t h e C - m i n o r s c a l e i s the note D , n o t D k Calling the interval C - D b a diminished second m i g h t t h e r e f o r e s e e m l o g i c a l a t first, b u t a s w e c a n s e e i n t h e f o l l o w i n g c h a r t , t h e d i m i n i s h e d f o r m o f t h e s e c o n d ( w h i c h a c t u a l l y s o u n d s l i k e a unisón) i s o n e half step t o o small:

Major (M)

Minor (m)

D i m i n i s h e d (d)

A u g m e n t e d (A)

C-Db

C-Dbb

C-DÍ

9 — n — i f r i ^ —

fe

1 half step

a unisón

C-Eb

C-Etb

¿ñas C-D -X rtE*

Ti

é

°

2 half steps or 1 whole step

j-

1

—j-i

%J

bbo— d \

9

L*> fe

hp

flo

i t

,—«J—IP;

3 half steps or 1 whole step a n d a half step

3 r d s C-E

fl

8 4 half steps o r 2 whole steps

I...—,

»

u

,

C-Ef 5E

3 half s t e p s o r 1 whole step a n d a half s t e p

2 half s t e p s o r 1 whole step

C-Ab

C-Atb

„

" X i m —

fe

i»

y

5 half s t e p s o r 2 whole steps and a half s t e p

6 t h s C-A v «1J

3 S

•i

9 half steps o r 4 whole steps a n d a half s t e p

8 half s t e p s o r 4 whole steps

*

7 half steps or 3 whole steps a n d a half step

C-AÍ 3£

•) a * » —

«>

tf*»

10 half s t e p s or 5 whole steps

7 t h s C - B

fe ° 11 half s t e p s or 5 whole steps a n d a half s t e p

C-Bb

C-Bbfc

10 half s t e p s or 5 whole steps

9 half s t e p s or 4 whole steps a n d a half step

C-B*

V*

12

CHAPTER I

12 half s t e p s o r 6 whole steps

L E A R N I N G A B O U T S C A L E S A N D I N T E R V A L S

||

T h i s chart shows that the d i m i n i s h e d f o r m o fa n i n t e r v a l is t w o h a l f steps smaller t h a n the m a j o r interval, n o t j u s t o n e h a l f step. O u r C - D b , t h e n , w h i c h is a h a l f s t e p s m a l l e r t h a n t h e m a j o r s e c o n d , i s a m i n o r s e c o n d . T h e i n t e r v a l s w i t h i n t h e s e c o n d c a t e g o r y , f o u r t h s , fifths, u n i s o n s , a n d o c t a v e s , a r e d e s i g n a t e d differenüy f r o m t h o s e o f t h e first: t h e y a r e n e v e r c a l l e d major o r m i n o r but instead a r e considered perfect (P). W i t h t h e perfect f o u r t h a n d p e r f e c t fifth, t h e u p p e r n o t e i s a l w a y s i n both t h e m a j o r a n d m i n o r scales o ft h e l o w e r n o t e . I f t h e s e i n t e r v a l s are l o w e r e d o n e h a l f step, t h e y are designated d i m i n i s h e d (d4, d 5 ) ; i f they are raised a h a l f step, they are considered augmented (A4, A5):

Perfect (P)

Diminished (d)

A u g m e n t e d

(A)

C-F

C - F b

C-FÍ

5 half s t e p s or 2 whole steps a n d a half step

4 half s t e p s or 2 whole steps

6 half steps or 3 w h o l e s t e p s (tritone)

C-G

C-Gb

C-G#

7 half s t e p s or 3 whole steps a n d a half step

6 half s t e p s or 3 w h o l e s t e p s (tritone)

8 half s t e p s or 4 whole steps

4ths

5ths

O c t a v e s a n d u n i s o n s ( o r p r i m e s ) a r e a l s o c a l l e d p e r f e c t ( o r "puré"), diminished, o r augmented. W h i l e perfect octaves a n d unisons a b o u n d i n W e s t e r n music, a u g m e n t e d a n d d i m i n i s h e d octaves a n d primes are infrequently e n c o u n t e r e d i n m u s i c b e f o r e 1900. T h e o r e t i c a l l y a n d visually—especially within the notation of twentieth-century scores—we will sometimes encounter a u g m e n t e d p r i m e s asw e l l asa u g m e n t e d a n d d i m i n i s h e d octaves. T h e s e interv a l s , o f c o u r s e , sound l i k e m i n o r s e c o n d s , m a j o r s e v e n t h s , o r m i n o r n i n t h s :

—Jr

bwth»

—

~ir~

¥—

A1

Ih» fr* A8

V

Ir» ír* d8

h—t Y A1

VV»

d8

v^f-— d1

I n f a c t , altérnate ( i . e . , " e n h a r m o n i c " ) s p e l l i n g s f o r t h e s e p a r t i c u l a r a u g m e n t e d a n d d i m i n i s h e d intervals are used s ofrequently i n music c o m p o s e d b e f o r e 1 9 0 0 t h a t w e w i l l n o t s p e n d a l o t o f time i n t h i s t e x t o n t h e m . I n c o n t r a s t , a u g m e n t e d a n d d i m i n i s h e d f o u r t h s a n d fifths a r e u s e d s o r e g u l a r l y t h a t they m u s t b e easily a n d q u i c k l y i d e n t i f i e d .

LEARNING A B O U T S C A L E S

A N D I N T E R V A L S

CHAPTER I

1 3

E N H A R M O N I C S P E L L I N G O F I N T E R V A L S

S o m e intervals s o u n d alike b u t appear i n d i f f e r e n t spellings i n musical scores. F o r i n s t a n c e , t h e i n t e r v a l s B-CÍ a n d B - D b s o u n d a l i k e b e c a u s e t h e i r t o p n o t e s , Ct a n d Db, are actually the s a m e p i t c h i n o u r t e m p e r e d scale.* T h e s e t w o interv a l s , h o w e v e r , créate d i f f e r e n t v i s u a l i m p r e s s i o n s o n t h e p a g e :

and

E v e n t h o u g h t h e s e t w o i n t e r v a l s s o u n d t h e s a m e , w e m u s t l a b e l t h e first a M 2 s i n c e i t i n v o l v e s t w o a d j a c e n t p i t c h ñames ( B , C ) a n d t h e s e c o n d a d 3 s i n c e i t e m b r a c e s t h r e e a d j a c e n t p i t c h ñames ( B , C , D ) . W e c a l i t h e p r a c t i c e o f l a b e l ing intervals that s o u n d alike b u t have different spellings the "enharmonic spelling" of intervals. T h e

e n h a r m o n i c s p e l l i n g o f i n t e r v a l s i s u s e d b y m a n y c o m p o s e r s t o créate

greater u n i t y o f voice leading, such as i n t h e f o l l o w i n g m e l o d y w h e r e a r e f o u n d i n a s c e n d i n g l i n e s a n d fíats i n t h e d e s c e n d i n g l i n e :

o

sharps

[ M I Z^j

É

E n h a r m o n i c s p e l l i n g c a n a l s o a c c u r a t e l y d e s i g n a t e t h e h a r m o n i c funcüon o f a p i t c h t oassure its c o r r e c t r e s o l u t i o n , s u c h as t h e f o l l o w i n g i n t e r c h a n g e o f the augmented sixth with the m i n o r seventh:

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I n examples a a n d b above, the t w o chords d e n o t e d w i t h a n asterisk (*) s o u n d a l i k e , b u t t h e first f u n c t i o n s a s a n a u g m e n t e d s i x t h c h o r d , w i t h t h e F l resolving u p to G, a n d the second functions as a d o m i n a n t seventh chord, w i t h t h e Gí> r e s o l v i n g d o w n t o F .

* N o n t e m p e r e d i n s t r u m e n t s , s u c h as s t r i n g s a n d e v e n t h e h u m a n v o i c e m a y p e r f o r m C l a n d Db w i t h a slight t o n a l v a r i a t i o n , b u t f o r m o s t ears a n d f o r o u r early attempts at sight singing, w e s h o u l d n o t concern ourselves too m u c h w i t h these very small deviations i n pitch.

14

CHAPTER I

L E A R N I N G A B O U T S C A L E S

A N D I N T E R V A L S

W R I T T E N

E X E R C I S E S

L a b e l e a c h i n t e r v a l a n d i n c l u d e t h e n u m b e r o f h a l f steps. P 4 (5)

M3(4)

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*Since an augmented second occurs i n b o t h the u p w a r d and d o w n w a r d m o t i o n of the h a r m o n i c m i n o r scale, h o w e v e r , w e advise t h a t t h e s t u d e n t practice a f e w o f these i n t e r vals i n C h a p t e r V I I I ( p p . 1 3 4 - 3 5 ) b e f o r e a t t e m p t i n g t o sing t h e h a r m o n i c m i n o r scale.

S C A L A R S E C O N D S

C H A P T E R II

1 7

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Play the notated pitch o n the piano, a n d t h e n sing the given interval above o r b e l o w t h e n o t e . D o n o t p l a y t h e p i t c h y o u a r e t o s i n g u n t i l after y o u h a v e s u n g it; t h e p i a n o s h o u l d o n l y b e u s e d t o c h e c k y o u r accuracy. D othese exercises v e r y s l o w l y a n d d e l i b e r a t e l y a t first, a n d t h e n i n c r e a s e y o u r s p e e d g r a d u a l l y . P l a y e a c h n o t e , t h e n s i n g a m a j o r s e c o n d above i t .

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M2 down

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M2 down

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E X E R C I S E S

P l a y t h e first n o t e o f e a c h e x e r c i s e o n t h e p i a n o , t h e n s i n g t h e e n t i r e e x e r c i s e w i t h o u t a c c o m p a n i m e n t . D o i t s l o w l y a t first, a n d t h e n i n c r e a s e s p e e d w i t h e a c h successive r e p e t i t i o n . I f a n exercise is o u t o f y o u r voice range, feel free t o transpose it u p o r d o w n a n octave; b u t b e sure to m a i n t a i n the i n t e n d e d intervals.* * I n t h e n o n r h y t h m i c e x e r c i s e s , a l l accidentáis a p p l y o n l y t o t h e n o t e s t h a t t h e y p r e c e d e . I f t h a t p i t c h is i m m e d i a t e l y r e p e a t e d a n d t h e r e is n o r e s t t o sepárate t h e n o t e s , t h e a c c i d e n t a l a p p l i e s t o t h e r e p e a t e d n o t e as w e l l .

18

C H A P T E R I!

S C A L A R

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1 The Minor Second T h e m i n o r second (m2) is the smallest interval between two pitches i n t h e W e s t e r n t o n a l system. I t is the "nearest" interval, o n l y o n e h a l f step away i n either direction.

P R E P A R A T O R Y

E X E R C I S E S

A s w i t h t h e p r e v i o u s e x e r c i s e s d r i l l i n g t h e m a j o r s e c o n d , p l a y t h e first p i t c h o n t h e p i a n o a n d t h e n s i n g t h e g i v e n set o f p i t c h e s . E a c h set i s b r a c k e t e d b y r e p e tition m a r k s ; r e p e a t e a c h set several times. 1

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Play the notated pitch o n the piano, and then sing the given interval above o r below the note. P l a y e a c h n o t e , t h e n s i n g a m i n o r s e c o n d above i t .

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C H A P T E R II

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m2

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P l a y t h e first n o t e o f e a c h e x e r c i s e o n t h e p i a n o , t h e n s i n g t h e e n t i r e e x e r c i s e w i t h o u t a c c o m p a n i m e n t . Start slowly, a n d t h e n after several repetitions t r y to increase your speed. •

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Singing Major and Minor Scales W e a r e n o w r e a d y t o s i n g t y p i c a l s c a l a r p a t t e r n s u s i n g t h e s e t w o i n t e r v a l s , first i n a series o f n o n r h y t h m i c exercises, n e x t i n m e l o d i e s d r a w n f r o m m u s i c literature. Finally, w e will sight sing melodic patterns featuring the m a j o r a n d m i n o r second that are a bit m o r e challenging, d u e t ot h e i r m o d u l a t o r y o r s o m e t i m e s chromatic nature.

N O N R H Y T H M I C

E X E R C I S E S

P l a y t h e first n o t e o f e a c h e x e r c i s e o n t h e p i a n o , t h e n s i n g t h e e n t i r e e x e r c i s e w i t h o u t a c c o m p a n i m e n t . Start slowly, a n d t h e n after several repetitions t r y t o increase y o u r speed. W h i l e these exercises consist m o s t l y o f m a j o r a n d m i n o r scales, a f e w t h i r d s

22

C H A P T E R 11

S C A L A R

S E C O N D S

a n d f o u r t h s occur, b u t these r e t u r n to notes that you've already sung. T h e s e "discrepancies" add interest to the line a n d present a bit m o r e o f a challenge. B u t t h i n k a b o u t e a c h i n t e r v a l as y o u s i n g i t ; d o n o t t a k e y o u r k n o w l e d g e o f these intervallic relationships f o r granted!

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23

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S C A L A R S E C O N D S

C H A P T E R II

25

c. H a r m o n i c M i n o r

26

C H A P T E R 11

S C A L A R

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Exercises for Performance M E L O D I E S F R O M T H E L I T E R A T U R E S i n g the f o l l o w i n g melodies, w h i c h are t a k e n f r o m vocal asw e l l as i n s t r u m e n tal l i t e r a t u r e . T h e s e tunes are m o s t l y based o n m a j o r a n d m i n o r s e c o n d s — t h a t is, w h o l e - a n d h a l f - s t e p m o t i o n — a l t h o u g h a l l c o n t a i n a f e w o t h e r i n t e r v a l s . Sing the melodies v e r y slowly, checking y o u r p i t c h a ttimes w i t h t h e p i a n o b u t not p l a y i n g a l o n g o n t h e p i a n o w h i l e y o u s i n g . Y o u m a y wish t opractice certain r h y t h m i c exercises f r o m Part T w o before a t t e m p t i n g t osing these melodies. F o r melodies 1 ,2, 3 , 4 , a n d 8 w e suggest particular examples w i t h w h i c h y o u m a y w a r m u p . These directives give a n idea o fh o w y o u can precede all o fthe melodies i n Part O n e w i t h r h y t h m i c exercises f r o m Part T w o that f o c u s o n a particular m e t e r or r h y t h m i c pattern. If t h e rhythmic e x e r c i s e s that a r e suggested b e l o w h a v e a l r e a d y b e e n c o v e r e d , simply review t h e m before singing the melodies. • 1

Practice n u m b e r s 9-11 o f the Regular R h y t h m i c Exercises i nChapter (p. 183) b e f o r e s i n g i n g this n e x t exercise. Easter

XII H y m n

Broadly

•

Practice n u m b e r s 5 - 6o fthe Preparatory R h y t h m i c Exercises i n Chapter X I I (p. 185) b e f o r e s i n g i n g this exercise.

2

S y m p h o n y

N o . 9

Ludwig van Beethoven Allegro (m

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Practice n u m b e r s 1 - 5 o f the Regular R h y t h m i c Exercises (pp. 179-80) before singing this exercise.

i n Chapter

X I I

S y m p h o n y N o . 1

Johannes

Allegretto

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Practice n u m b e r s 9-11 o f the Regular R h y t h m i c Exercises (p. 180) b e f o r e singing this exercise.

i nChapter X I I Romeo and

Juliet

P y o t r H'yich T c h a i k o v s k y

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Practice n u m b e r s 1 - 2 o f t h e Regular R h y t h m i c Exercises (p. 201) b e f o r e s i n g i n g this n e x t exercise.

8

i n Chapter The

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Beethoven Slowly

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S y m p h o n y

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Gustav Mahler

Slowly

S C A L A R S E C O N D S

C H A P T E R

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2 9

S y m p h o n y

11

N o . 2

Howard Hanson Lento

S P E C I A L L Y C O M P O S E D A N D M I N O R S E C O N D S

r

M E L O D I E S

E M P H A S I Z I N G

M A J O R

H e r e i s a s e t o f e x e r c i s e s t h a t f e a t u r e a g r e a t e r o c c u r r e n c e o f accidentáis. S o m e melodies contain m o d u l a t o r y patterns; others are n o t necessarily cent e r e d a r o u n d a p a r t i c u l a r key. M o s t o f these exercises, however, d ohave t o n a l centers that will reveal themselves w h e n t h e melodies are mastered; t h e best way t o approach t h e m , nevertheless, is purely b yinterval. Sing each m e l o d y slowly, c o n c e n t r a t i n g o n o n e i n t e r v a l a ta t i m e . I n d o i n g so y o u s h o u l d b e able to master t h e d i f f e r e n t seconds c o n t a i n e d w i t h i n t h e m .

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THE PERFECT FIFTH AND THE PERFECT FOURTH

The

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T h e p e r f e c t fifth ( P 5 ) i s o n e o f t h e m o s t i m p o r t a n t i n t e r v a l s i n W e s t e r n m u s i c . I t s p r o m i n e n c e a n d d i s t i n c t i o n s t e m f r o m t h e f a c t t h a t i t i s t h e first " n e w " n o t e i n t h e h a r m o n i c s e r i e s a f t e r t h e unisón a n d t h e o c t a v e :

fundamental Harmortic Series of C

overtones

etc.

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P8

P5

T h e w o r d " p e r f e c t " u s e d t o d e s c r i b e t h i s i n t e r v a l (as w e l l a s t h e p e r f e c t f o u r t h ; see b e l o w ) s t e m s f r o m s e v e r a l p r a c t i c a l a n d h i s t o r i c a l sources. I n t h e e a r l y hist o r y o f W e s t e r n p o l y p h o n i c m u s i c , t h e fifth a n d t h e f o u r t h w e r e c o n s i d e r e d t h e o n l y t r u e c o n s o n a n c e s a s i d e f r o m t h e unisón a n d o c t a v e ; * t h e y w e r e c o n s e quenüy t h e m o s t frequenüy u s e d . P r a c t i c a l l y s p e a k i n g , t h e s e i n t e r v a l s a r e called "perfect" because they r e m a i n constant even i fthe m o d e o f a piece changes f r o m m a j o r to m i n o r o r vice versa. (As w e l e a r n e d i n C h a p t e r I , this is n o t t h e case w i t h s e c o n d s , t h i r d s , s i x t h s , a n d s e v e n t h s , w h i c h c h a n g e q u a l i t y w h e n m o v i n g f r o m the m a j o r to the m i n o r m o d e , o r vice versa.) T h e p e r f e c t fifth i s m a d e u p o f s e v e n h a l f s t e p s , o r t h r e e w h o l e s t e p s a n d o n e h a l f step. T u n e this i n t e r v a l w e l l , f o r i n o u r t e m p e r e d scale system, t h e p e r f e c t fifth h e l p s t o s t a b i l i z e t h e i n t o n a t i o n o f a p i e c e o f m u s i c . W e r e c o g n i z e t h a t a l l s t r i n g s t u n e t o i t o r t o t h e p e r f e c t f o u r t h , a n d i t is a v e r y u s e f u l i n t e r v a l f o r t u n i n g v o i c e p a r t s as w e l l .

* T h e n u m e r i c a l r a t i o s t h a t d e f i n e t h e unisón 1 / 1 , t h e o c t a v e 2 / 1 , t h e p e r f e c t fifth 3 / 2 , a n d t h e p e r f e c t f o u r t h 4 / 3 a r e a l l b a s e d o n t h e first t h r e e p r i m e n u m b e r s , a f a c t o r t h a t reflected the a l l - i m p o r t a n t theological concept o f the T r i n i t y d u r i n g the M i d d l e Ages.

32

C H A P T E R III

T H E P E R F E C T FIFTH A N D T H E P E R F E C T F O U R T H

P R E P A R A T O R Y

E X E R C I S E S

P l a y t h e h r s t p i t c h o f e a c h set o f p i t c h e s o n t h e p i a n o , a n d t h e n s i n g t h e rest o f t h e set w i t h o u t a c c o m p a n i m e n t .

7

8

r©

I

O

r

+ _____ "

9

O _T_

___?

r

0—.

I

I

1

c.

¿

0

1 1

11

1

0

11

r"j"

16

1

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0

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17

o

8

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1



12

+

14

13 y 1 A i • ríH 1

1

1 1

10

(.o

—

o

L o

Tn

S O U N D T H E P I T C H A N D

o

Til y *• *

7O

ü~

1 á •_

u

-

\

S I N G

P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a p e r f e c t fifth above i t b e f o r e g o i n g o n t ot h e n e x t note. T h e n g oback to the b e g i n n i n g , play each n o t e a n d s i n g a p e r f e c t fifth below i t .

_S

3

ICE

o

o

-£»-©-

-ErO-

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tu:

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o

THE PERFECT FIFTH A N D T H E PERFECT

F O U R T H

C H A P T E R III

3 3

Play the w r i t t e n note a n d sing the appropriate P5 d o w n •I-

P5Í f

P5 up

P5 d o w n

P5l

L

O

Tf

P5l

P5j

_r_

/

-W ím

P5 d o w n

í~_

P5l

tí

P5Í

6V /

P5l ¿Y

..

P5|

o

Ü—

P5Í

P5l

fl°

o

o-

?o

P5l ;tí

1

V ^

N O N R H Y T H M I C

,>o

P5 up

«-o»

~i í~m

P5Í

PSJ

PSl

i P5l

L. ..

I

P5Í

¡nt

P5Í *»

P5l

0

n

P5Í

i Hr» '

P5t

PSÍ

tt

P5Í fl

©

H _T_

i

A\

P5Í

P5 d o w n P5 d o w n

t T

-

—

'

P5Í

P 5 up

Ln o P5Í

?o P5l

P5 d o w n

Ul i o P5Í

€>

P5Í

P5 up

-

P5l

«

P5Í

P5 up

O

P5Í

'•

PSl

P5 d o w n

interval.

r

0

P5Í tí

P5|

o

T _r_

P5Í

P5Í

wv *' -•

-

•

1 1 1

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h e x e r c i s e o n t h e p i a n o a n d t h e n p e r f o r m t h e r e s t o f the exercise w i t h o u t a c c o m p a n i m e n t . C h e c k y o u r p i t c h at the e n d . F o l l o w this p r o c e d u r e for all exercises i n the rest of this chapter. •

1

34

C H A P T E R 111

THE PERFECT

FIFTH A N D THE PERFECT

FOURTH

•

4

The

Perfect Fourth

T h e p e r f e c t f o u r t h ( P 4 ) i s c o n s t r u c t e d o f five h a l f s t e p s , o r t w o w h o l e s t e p s a n d o n e h a l f step. I nthe h a r m o n i c series this i n t e r v a l appears just after the perfect fifth:

overtones o

fundamental f¡y.

H a r m o n i c Series of C

etc.

""P8

T h e p e r f e c t f o u r t h i s t h e inversión o f t h e p e r f e c t

*'Ri_PÁ¡f_ATORY

fifth.

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h s e t a n d t h e n s i n g t h e r e s t w i t h o u t a n i n s t r u m e n t a l accompaniment.

||: „

U

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11=

3_C

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10

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= ll

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12

+ -I

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y

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13 t>

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t>

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17

f18

ty

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o

19

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o

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o

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7 o

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36

C H A P T E R 111

i * — ,

I T X Í :

T H E PERFECT

k

~t~rr

-f*e-

tí

FIFTH A N D T H E PERFECT

F O U R T H

S O U N D T H E P I T C H A N D

S I N G

P l a y t h e w r i t t e n n o t e o n t h e p i a n o a n d s i n g a p e r f e c t f o u r t h below i t . T h e n b a c k , p l a y e a c h n o t e a n d s i n g a p e r f e c t f o u r t h above i t .

o

o

o

o

o

o

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_____

o

°

>

go

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1

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1 1 I 1

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1

Play the written note, t h e n sing the appropriate interval. P4 down

P4 down

P4 up

P4 down

P4 up

P4 up ZVSL

O P4Í

P4l

S

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C H A P T E R III

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tí

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Exercises for Performance M E L O D I E S

F R O M

T H E

L I T E R A T U R E

• 1

V i o l i n Concertó

Ludwig van

Andante E Z :

_

Beethoven

_ T T

n

40

C H A P T E R III

|i>

r

T H E PERFECT

J

J

y í ¡ , _

t

FIFTH A N D T H E PERFECT

-

II

FOURTH

•

C a n o n

3

William Byrd

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PERFECT

FIFTH A N D T H E PERFECT

F O U R T H

C H A P T E R III

4 1

•

5

Israeli Folk

S o n g

R a t h e r slowly FF=

I

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r

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42

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C H A P T E R III

al

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T H E P E R F E C T FIFTH A N D T H E P E R F E C T

'

7

"

F O U R T H

• 8

"Sleepers, W a k e ! " f r o m Cantata N o . 140 Johann Sebastian Bach Broad

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i

H

e

s

• r — J

m

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p

v — G ——...

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m

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L

^

T H E PERFECT FIFTH A N D T H E PERFECT F O U R T H

J

J

•

1 1 o

C H A P T E R III

43

• 1 0

C a n o n

Paul Hindemith 1. ,

Brisk

2

() « ¿

?

N

i

L

j

^

F r ~ ^

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j

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H

S

— B

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s

S

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i>

r

o

T 7 = ^

*—tr__

|J

•

h

__d

0

—

w

—

—

1

J J

i

11

Fanfare (Third

Stately

S y m p h o n y )

Aaron

Copland

for

Orchestra

ES 3=£

• 1 2

Concertó

Béla Bartók

F a s t ( i n 1)

•

—

• 7

m

y

•

f 4 = =

0

0—

pp

3 = ¿—

44

-i

—

•

C H A P T E R 111

• —

r — i — —

é

?_# = F =

m •

*Y~

m —

- V

1» 5 = f

T H E PERFECT

•

•

1

-1»

FIFTH A N D T H E PERFECT

V

7

7

-i

FOURTH

SPECIALLY COMPOSED MELODIES

EMPHASIZING

P E R F E C T F I F T H S AND P E R F E C T F O U R T H S T h e s e m e l o d i e s c o n s i s t o f mosüy fifths, f o u r t h s , w h o l e s t e p s , a n d h a l f s t e p s s o that y o u m a y gain further experience i n practicing these intervals. Again, the t o n a l centers will reveal t h e m s e l v e s asy o u m a s t e r these exercises. •

1 Moderately

fast

mi

* — •

É

3

f = t = f

4

^

•

— r — h -

*

•

r

*

©-=

m

'r i

L, \>* Y

i

r

—

^

y

}0

- 4

H

— V e

2 A s fast as

possible

I . N

»•

r>

7

L L 1

_

7

r •

J

r

r

i y

0

. 0

-7—7-

u

I**—#

3 R a ther

^

/

¿

> : ^

i

7

slowly

1P— •

5 = f

_^=¡

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1. f

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;

1

T V !

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1

- 1

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1

'

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1

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r

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0

70 —

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J

c J

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— • — * — 0

P E R F E C T F I F T H AND T H E P E R F E C T F O U R T H

í

Vé

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1

1

-¿

\ f

~

0

h-r-i V ^ M

CHAPTER III

4 5

•

4 L i g h t l y m o v i n g ( i n 1)

7

p

7

^

-=

=

r — f — K - — u —

i

—

1

11

*

—

1

•

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r.

P

i

f

í

f

—

fcn_ ^

- A

^

J

—

i

—

m—a r —

i

*

—

7

L

J

1

—

L. ^

5 Deliberately 3

__=É

r9

Ti-*

í

5=± b

r

46

1 , 1 , 1

^

C H A P T E R III

!

i

T H E P E R F E C T FIFTH A N D T H E P E R F E C T

F O U R T H

6

Practice n u m b e r s 1-3 o f the Regular R h y t h m i c Exercises i n Chapter (pp. 226—27) before s i n g i n g this n e x t exercise.

X V

THE PERFECT FIFTH A N D T H E PERFECT F O U R T H

47

C H A P T E R III

C H A P T E R

I V

THE THIRD

T h e impórtame o f t h e t h i r d i n t o n a l m u s i c c a n n o t b e o v e r e s t i m a t e d b e c a u s e i t is t h e i n t e r v a l t h a t d e f i n e s t h e m o d a l i r y o f a p i e c e o r m u s i c a l p a s s a g e ; w e s h o u l d therefore b e especially conscious o fthe difference i n s o u n d between the major third and the m i n o r third. W h i l e u n i s o n s , o c t a v e s , p e r f e c t fifths, a n d p e r f e c t f o u r t h s w e r e c o n s i d e r e d perfect consonances d u r i n g the early history o f Western music, thirds and s i x t h s (see C h a p t e r V I ) w e r e t e r m e d " i m p e r f e c t c o n s o n a n c e s " * a n d w e r e n o t o f t e n used as stable c o n s o n a n c e s u n t i l t h e s i x t e e n t h century. T h e t e r m s " m a j o r " a n d " m i n o r " t o d e s c r i b e t h i r d s (as w e l l as s e c o n d s , s i x t h s , a n d s e v e n t h s ) carne i n t o favor m u c h later, d u r i n g t h e e i g h t e e n t h century, w h e n t h i r d s t o o k on am o r e primary role i n defining the modality of a musical composition. I n s o m e f o r e i g n m u s i c a l t e r m i n o l o g i e s m a j o r a n d m i n o r thirds are design a t e d b y the t e r m s "large t h i r d " a n d "small t h i r d , " respectively. T h e s e t e r m s might help i n guiding u sh o w t otune each third: the major third should b e s u n g o n t h e " h i g h " side ( b u t w i t h o u t g o i n g sharp) a n d t h e m i n o r t h i r d o n t h e " l o w " s i d e ( b u t w i t h o u t g o i n g fíat).

T h e

M a j o r

T h i r d

T h e m a j o r t h i r d ( M 3 ) is c o n s t r u c t e d o f f o u r h a l f steps, o r t w o w h o l e steps, i n e i t h e r direcüon f r o m a g i v e n p i t c h .

PREPARATORY

EXERCISES

P l a y t h e first p i t c h o f e a c h s e t o f p i t c h e s o n t h e p i a n o , a n d t h e n s i n g t h e r e s t o f t h e s e t a cappella, o r w i t h o u t a c c o m p a n i m e n t .

I

«°

#

.

. »

#

„

||..

#

„

>

0

#

»

"

1 1 , 1

#

»

» "

I

* T h i s is parüy b e c a u s e t h e n u m e r i c a l r a t i o s t h a t d e f i n e t h i r d s a n d s i x t h s a r e m a d e u p o f p r i m e n u m b e r s t h a t are larger t h a n t h e t h e o l o g i c a l l y correct 3; f o r instance, a m a j o r t h i r d is 5 / 4 , a m i n o r t h i r d 6 / 5 .

48

C H A P T E R IV

T H E

T H I R D

SOUND T H E PITCH AND SING P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m a j o r t h i r d above e a c h o n e . T h e n g o b a c k t o t h e b e g i n n i n g , p l a y e a c h n o t e a n d s i n g a m a j o r t h i r d below i t .

o

S

/•

, 4

*

:9t

-

^

o

1 1 1 1

°

?0

"

T

"

I I» f

I 1 1 1

o

o

Play the written note a n d sing the appropriate interval. M 3 up y

M 3 up .. - r , , •• t

uo

M3down -

M 3 up üU

M 3 up

no

,M3down

M3 down JO

M 3 up

M3 down

[ti T

T H E T H I R D

M 3 up ^

CHAPTER IV

4 9

M3Í

M3Í

M3j

M3i

M3Í

9: ° M3Í

M3Í

50

M3Í

M3I

M31

M3J

bi f " M3Í

M3I

M3Í

M3Í

M3l

M3Í

M3Í

M3l

M3Í

0

M3I

o:

IM»

Jll

M3I

M3Í

M3l

M3t

4 M3Í

O

O

M3Í

M3i

Tí

o M3Í

M3I

i)

M3f

M3l

M3Í

M3Í

7Q~ M3Í

M3Í

M3Í

M3Í

M3Í

M3i

o

M3l

M3i

M3l M3Í 4>*» o . —

M3Í

M3t

NONRHYTHMIC

-©-

M3Í 4 °

M3T

M3Í

:

M3Í

M3t

*

EXERCISES

P l a y t h e first n o t e o n l y a n d t h e n p e r f o r m t h e r e s t o f t h e e x e r c i s e w i t h o u t a c c o m p a n i m e n t . C h e c k y o u r p i t c h a f t e r compleüng e a c h e x e r c i s e . F o l l o w t h i s p r o c e d u r e f o r all exercises i n the rest o f this chapter. • 1

50

CHAPTER IV

T H E T H I R D

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S1

The Minor Third T h e m i n o r t h i r d ( m 3 ) is t h e i n t e r v a l o f t h r e e h a l f steps, o r o n e w h o l e step a n d o n e h a l f s t e p , i n e i t h e r direcüon f r o m a g i v e n p i t c h .

PREPARATORY

EXERCISES

P l a y t h e first p i t c h o f e a c h s e t a n d t h e n s i n g t h e r e s t w i t h o u t a n i n s t r u m e n t a l accompaniment.

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CHAPTER IV

5 3

NONRHYTHMIC

EXERCISES

P l a y t h e first p i t c h o f e a c h e x e r c i s e o n a n i n s t r u m e n t , t h e n s i n g t h e e n t i r e exercise w i t h o u t accompaniment, beginning slowly and gradually increasing y o u r speed. R e m e m b e r t h a t t h e rests a r e o n l y suggestions f o rw h e r e t o breathe. • 1

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C H A P T E R IV

5 5

Seconds have b e e n added; be M2Í

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careful!

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E X E R C I S E S

P l a y t h e first p i t c h o n t h e p i a n o a n d t h e n p e r f o r m t h e e x e r c i s e a cappella. C h e c k t h e a c c u r a c y o f y o u r last p i t c h after e a c h exercise.

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CHAPTER IV

6 1

• 1 2

Practice the r h y t h m s i n L e o n a r d Bemstein's " A m e r i c a " (p. 203) before this n e x t exercise. North Argentinian Folk

singing D a n c e

Transcribed by Alberto Ginastera

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Practice some "changing m e t e r " Regular R h y t h m i c Exercises i n Chapter X V — f o r instance, Exercise N o s . 3 - 6(p. 2 2 7 ) — b e f o r e d o i n g this n e x t exercise.

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T H E T H I R D

C H A P T E R IV 6 5

1

1 — * * •4-J—

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D U E T S H e r e are some duets that emphasize the intervals o fChapters I I t h r o u g h IV. W o m e n a n d m e n should divide (S + T a n d A + B ) . I f possible, these exercises s h o u l d b e d o n e a cappella a f t e r o n l y t h e first p i t c h i s g i v e n . • 1

•

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CHAPTER IV

T H E

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C H A P T E R IV

67

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Bedrich Smetana Nicely moving

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CHAPTER IV

t

9

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T h e next two exercises emphasize singing n o t o n l y melodic b u t a l s o h a r m o n i c fifths a n d f o u r t h s .

fifths

and fourths

• 11 Stately

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3=^1

CANONS Most of the canons presented i n this a n d subsequent chapters were written o n n o n - E n g l i s h t e x t s . R a t h e r t h a n risk i n a d e q u a t e o r u n m u s i c a l translación, w e h a v e o f t e n c h o s e n t o o m i t t h e t e x t a l t o g e t h e r s o t h a t y o u m a y concéntrate o n the intervallic c o n t e n t a n d p e r f o r m the music accurately. E v e n those c a n o n s t h a t h a v e b e e n t r a n s l a t e d w o u l d b e n e f i t f r o m p e r f o r m a n c e w i t h n e u t r a l syllab l e s . E a c h c a n o n s h o u l d b e s t u d i e d i n unisón a n d t h e n d i v i d e d u p i n t o p a r t s o n c e the lines can b e p e r f o r m e d w i t h ease.

T H E T H I R D

C H A P T E R IV

6 9

• 1 0

Johannes Brahms 2.

1

—ar*

fe «3

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7

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2 Happily 1.

(3 p a r t s ) 2.

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Repeat three times

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7 0

CHAPTER IV

JijLi^^

T H E T H I R D

Andante con moto

4*

(4 parts)

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J J J i l>J J j 3* O

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Anonyrnous, c. 1600

5 QuieÜy m o v i n g

(4 parts)

4*

3*

1*

2* #- —0—0> :

•

r i»r

2

t ii :

Repeat three times

A n o n y r n o u s , c. 1600

6 Rapidly

flowing

4*

(4 parts)

3* O

2*

i ^ •

J

r r

l

T i r

r

1 ] r r r i t

J

J

3.

1*

r '°

T

Repeat three times John Hilton

7

fcfc

Q u i t e s l o w l y (3 parts) 1.

last t i m e

f f T*1 4 = ^ =

t

J

w

—

=t= >—•

r.

rr~r

—

| V

l

¿

—

—

U

¡

—

i

H

Repeat three times

*4, 3 , 2 , 1 stop at these f e r m a t a s at t h e t h i r d repeat.

T H E T H I R D

CHAPTER IV

7 1

Eusebius Mandyczewski "

2.

> 2- _ J ^ J Jsf

' \>0 0

sP-t

1

2.

^

4

s

v j . tf*to J|J 1

#

#

•—

r

^

-

L!T r

>

^

r un

ü

^-^^ i

1

2* o

1*

~ 2*

1*

Repeat

twice

* 2 , 1 , t h e fermatas are t h e s t o p p i n g places f o r t h e respective voices t h e second t i m e through.

7 2

C H A P T E R IV

T H E T H I R D

CHAPTER V

SOME OTHER C L E F S

Til©

u n e ! Tter&csi"

A l t o

€ 5 i @ f s

T h r o u g h o u t o u r studies o fintervals u p t othis p o i n t , w e have r e a d m u s i c that is n o t a t e d o n l y i n t h e t r e b l e a n d bass clefs. H i s t o r i c a l l y , a n u m b e r o f clefs h a v e been employed i n music written for different instruments, usually to m i n i m i z e t h e n e e d f o r l e d g e r lines. M a n y o f these clefs are n o l o n g e r i n use, a n d o t h e r s , s u c h as t h e s o p r a n o clef, a r e o n l y r a r e l y f o u n d . T w o a d d i t i o n a l clefs, h o w e v e r , a r e still f r e q u e n t l y e m p l o y e d . T h e y a r e t h e a l t o clef, i n w h i c h m i d d l e C is n o t a t e d o n t h e t h i r d l i n e o f t h e staff:

-1

o

A |Sy ° - 69 — ^ h- ** = \ i V13 »- fe§ o or

-]

0: "

--t o—"— 9 =1 Is -fe

o r J

^r-*?J

o —

II efe. J

o r

a n d t h e t e n o r clef, i n w h i c h m i d d l e C isn o t a t e d o n t h e f o u r t h l i n e o f t h e staff.

4

A

rltí? K

J

o »

=

¿

^ _

°

r

5

>

— r 11|3 llá

-—

L

°—n

tv

n

=¿ „ ° — r l ±=!¿

r

L

L J

etc.

V

TT

T h e s o p r a n o clef, f o u n d t o d a y m o s d y i n o l d e r e d i t i o n s o f B a r o q u e , a n d C l a s s i c a l p i e c e s , n o t a t e s m i d d l e C o n t h e first l i n e .

Renaissance,

etc.

W h i l e we will n o t focus o n the soprano clef i n this text, y o u will w a n t t o b e a w a r e o fits e x i s t e n c e . I f y o u m e m o r i z e w h e r e m i d d l e C o c e u r s i n these clefs, y o u s h o u l d b e able t o easily o r g a n i z e w h e r e t h e o t h e r p i t c h e s fall o n t h e staff. W h y s h o u l d w e s t u d y these clefs? S i m p l y b e c a u s e w e e n c o u n t e r t h e m t o d a y w i t h s o m e f r e q u e n e y . T h e a l t o c l e f i s u s e d t o nótate m o s t m u s i c f o r v i o l a , a n d m a y also b e f o u n d i n e i g h t e e n t h - a n d n i n e t e e n t h - c e n t u r y scores n o t a t i n g alto v o i c e o r a l t o t r o m b o n e . T h e t e n o r c l e f i s o f t e n u s e d t o nótate t h e h i g h e r r e g i s t e r o f t h e cello, d o u b l e bass, b a s s o o n , t e n o r t r o m b o n e , a n d i n o l d e r v o c a l

S O M E

O T H E R

C L E F S

CHAPTER

V

7 3

s c o r e s t h e t e n o r v o i c e . O f t e n o n e finds a m i x t u r e o f c l e f s i n a m u s i c a l s c o r e — e v e n t o nótate a s i n g l e i n s t r u m e n t ! W e m u s t t h e r e f o r e a t t a i n s o m e m a s t e r y o f b o t h o f t h e s e clefs. S i g h t s i n g i n g e x e r c i s e s u s i n g t h e a l t o a n d t e n o r clefs w i l l appear quite f r e q u e n t l y t h r o u g h o u t t h e rest o fthis book. I nthis chapter, w e feature b o t h written a n d aural exercises t ohelp y o u familiarize yourself with them.

Written Exercises P I T C H

I D E N T I F I C A T I O N

O n t h e l o w e r staff, w r i t e t h e e q u i v a l e n t n o t e i n e i t h e r t h e t r e b l e o r t h e bass c l e f , a s i n d i c a t e d . T h e first t w o e x a m p l e s a r e d o n e f o r y o u . a

1 I •\ 1 J 1 1 .1

n o

fl

TT

s v ^

My (fT\

•

1 1

'JO

ni

«>

«v ^

0

f n

0

f

2

i 2 a

°

o

«5

»°

J

7^ u

n

cv

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9&

:>«>

¿>:

)

W r i t e o u t t h e s e l i n e s first i n t h e t r e b l e a n d t h e n i n t h e b a s s c l e f . •

1

- ' )

p

,

h

-

J

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— —

ri

•

I

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=

j

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= 7 4

ii

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CHAPTER V

S O M E

O T H E R

= C L E F S

i

•

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i n

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i

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TRANSCRIBING

MELODIES

T r a n s c r i b e the f o l l o w i n g m e l o d i e s i n t o the clefs that are • 1

H | §

indicated.

T r a n s c r i b e first i n t o a l t o a n d t h e n i n t o t e n o r c l e f .

' o

p p l

-

SOME OTHER CLEFS

*\

*

J

i

JL—\

Ll

—i

CHAPTER V

7 9

1 2

•

T r a n s c r i b e i n t o t r e b l e clef, bass clef, o r a c o m b i n a t i o n o f t h e t w o . 0-

TyVTT~n

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• - 3

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P

W e s t - wárts

schweift der Blick;

ost-wárts s t r e i c h t d a s

Schiff.

Frisch weht der W i n d der

i

fe Hei-matzu;

mein

i-rischKind, wo

wei-lestdu?

Sind's

dei-ner Seuf-zer

We-hen,

i

i2_ die

m i r

dieSe

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blá - h e n ?

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w e- he, d u

WindL

f

9-0Weh,

tm^~P~p

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ach

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we-he,mein

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CHAPTER V

a

m

m.

m

I ' -r i -sche M a i d ,

S O M E

O T H E R

C L E F S

d u wil-de, min-ni-ge Maid!

Exercises for Practice and Performance N O N R H Y T H M I C

E X E R C I S E S

Sing the f o l l o w i n g lines. • 1

o . •

—

•

o



«

,

M E L O D I E S

F R O M

T H E

O

hrs

T O

e

i 4

JL, tr"

L I T E R A T U R E

S i n g t h e f o l l o w i n g m e l o d i e s , s l o w l y a t first a n d t h e n i n c r e a s i n g y o u r s p e e d . •

1

Agnus

Dei

Georges Bizet Allegro moderato

i;;r •

r

ir-£=±-r

r__r

r

n

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12

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T T

7 0

o

po

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17 3 T

331

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o

o

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o

o

o

tv

18 331

S O U N D

T H E P I T C H

A N D

S I N G

P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m a j o r s i x t h aboveezch

TT

o

7 0

o 1 o

t>

331 35"

8 4

o

reí

CHAPTER VI

T H E S I X T H

33:

3X

9&-

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o

33:

—

one.

l

33Z

O

P l a y e a c h w r i t t e n n o t e a n d s i n g a m a j o r s i x t h below i t .

TT

Lo

O

o

o

a offo

¡

xx

U =r-c

2

l f > ;

I

ío_ o

o

o

a:

-°-

[>«»

jjo ^

o

3X

P-o-

°

^

o

Play the w r i t t e n note a n d sing the appropriate interval. M6 down M6 down

i

M6 up

M6 up

\>0

M6 down M6 down o

M6Í

M6l

M6Í

M6|

M6Í

M6Í

fm

M6l

M6J

°

o _

M6|

M6Í

¡r^ M6|

M6Í

M6l

fe

M6Í

-©

M 6

j

M6\

M 6

J

M 6

'

o

i

M>

M6Í

M6

km* / €1

M6l

M6l

M6Í

M6Í

VT

o

W

M6Í

M6 I O

M6l o

fm

f 1 M6Í O

^

M6Í

n o

,M6Í Í o

up

90

M6|

^

M6l

M6|

ro-

M6l

0

M6l

M6Í

XS3Z

O

— y

M6 down M6 down M6 down M6 O TT

O

M6l

M6 up

PO.

M6|

tro M6Í

M6Í

M6) O

M6l o—

4 N O N R H Y T H M I C

1

E X E R C I S E S

P l a y t h e first n o t e o n l y a n d t h e n p e r f o r m t h e r e s t o f t h e e x e r c i s e w i t h o u t accompaniment. Check y o u r pitch after c o m p l e t i n g each exercise.

1^

-J?

4

p

.

»

*

•

?

ir*—

I'

,

I'

.t - = í

'-0

III.

1

I.

s

a>

é—

•

.

T H E S I X T H

C H A P T E R VI

8 5

•

2

•

3

•

—

- / —

»

•

•

mm

•

> f

a

*

•

>

•

^

•

i

> f

# *

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5

6

13

^ t»

u

i

4

fe4

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P n

#

I'

-

7

tt

tu

tt

*

?

4'i* • " " ' . » « • 8 6

*

- 4 »

^

?

C H A P T E R VI

T H E

SIXTH

'

• »' ||

T h e

M i n o r

S i x t h

T h e m i n o r s i x t h ( m 6 ) i s t h e i n t e r v a l o f e i g h t h a l f steps, o rf o u r w h o l e steps, f r o m a n y p i t c h i n e i t h e r direcüon. I t i s t h e " s m a l l " s i x t h , a n d w e recommend that b e f o r e s i n g i n g t h e p r e p a r a t o r y exercises y o u sing t h e f o l l o w i n g scalar patt e r n s a f e w t i m e s t o g e t t h e i n t e r v a l firmly i n t o y o u r e a r :

o

°

_ix o

xx

5fe

rzg: o —

"

u

° XX

o

XE

XH

OL

0

P R E P A R A T O R Y

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h s e t a n d t h e n s i n g t h e r e s t w i t h o u t a n i n s t r u m e n t a l a c c o m p a n i m e n t . R e p e a t e a c h set at least o n c e .

III:

"

,

9

10

II- o " =ll

3

3T

11

12

ti

-O

13

14 o fl"

I"

15

O

tt" ^

po

"pTf~

—

16 o

- o — o

3 =

I

o

po n o O

-O-

17 O

P"

:zn: o

18

I

iza:

ti

fe

- © -

P©

42x1:

ex

T H E SIXTH

C H A P T E R VI

8 7

S O U N D

T H E P I T C H A N D SING

P l a y t h e w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m i n o r s i x t h above i t .

o ?xx -y —

_

-

—^—

—

o

íl (§7

o

1>

í>^

rj

^

TT

rO

tjt

-

lo

I

o

= — f So P l a y e a c h n o t e a n d s i n g a m i n o r s i x t h below i t . _k>

-o- É

bo

ft

o

P-o-

1

U

o

t a j a -

Q:

o

o

o

tí

I o

o

o

bo

p

o

Play the w r i t t e n note, t h e n sing the appropriate interval. m6 up

m6 up

m6 down

m6 up

m6 up

m6 down \f

o

m6 up

O

m6 down

m6 down

o

O

o m6| 5>:

*°

m6Í

m6Í

m6Í

,016!

m6Í

m6l

m6Í

m

6Í

m6Í

.

3GL

*>

m6Í

m6Í

m6Í

m6|

m

fro o

8 8

C H A P T E R VI

m6l •

0

1

T H E

S I X T H

1 m6Í |2J

o:

6Í

__,

m6 up

m6l

m6l

m6l

m6l m6t

m6j

m6Í

m6l

o

-~¡rsr.

rn6Í

*

*.

m6l

m6t

m6l

m6i

—

m6Í

m6Í

m6Í

m6Í

^. n

1

J

m6J

O

m6l

m6Í

S«

1

0

m6|

m6Í

m6t

m6Í

m6Í

O

o m6Í

m6Í O

m6t

m6l

m6Í

n6Í

m6Í

-fe o

-m

y

•

m

—

7

m

•

«

Z*

m6l ¿o

t7TT~

TT

N O N R H Y T H M I C

m6l

E X E R C I S E S

V 1

=

m

m

:

m

#

# —

2

9-*-

T H E S I X T H

C H A P T E R VI

8 9

•

5

1

=

^

»

•

£

.

*

»

É •

1 6

•

•

II'

•

II»

||

7 I"

3

.

fe

•

'

I,.

0

J * 2

•

m~

5

M i x i n g

M a j o r

S i x t h s

a n d

M i n o r

S i x t h s

Be very careful t odistinguish between the two sixths b y feeling the u n i q u e qualities o f the small o n e ( m 6 ) versus the large o n e ( M 6 ) . A l t h o u g h this sense o f difference m a y be purely psychological, it will insure g o o d i n t o n a t i o n .

P R E P A R A T O R Y

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h s e t o n t h e p i a n o ; s i n g t h e o t h e r s a cappella. 3

4

5

6 o tí

90

C H A P T E R VI

T H E

S I X T H

o

S O U N D

T H E P I T C H A N D

S I N G

Play the w r i t t e n note, t h e n sing the indicated interval. M6 down m6 down M6 up —¡?—" M_

o

- r a r*

s

''

M6Í

m6 down ¡Jo

n6l

M6Í

M6|

o

m6 up

m6t

i6l

"

É

M6Í

M6Í

m6Í o

M6l

ex

PX3-

M6Í

m6f O

rxx"

©

M6l XX

m6t

pxx

m6i

M6Í

M6 up

m6 down

M6 up

M6 down

M6Í

m6f

M6l

m6Í

m6Í

M6Í

rn6j

M6l XX

m6l

o

1 te

M6l

m6 up

— i

v

i5 m6Í

M6 down M6 down

' m6l ©

m6i XX

M6l

m6Í

m6Í

=le= M6J

M6Í

X X

P•

i

*

•—1

-

,

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— • — •

•

$

1*

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*

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tac

C H A P T E R VI

tac

T H E

SIXTH

0

1

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6

tt* «T* '

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tk

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it*

=tp^=pf« »

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——

•

3

E x e r c i s e s

M E L O D I E S

f o r

F R O M

P e r f o r m a n c e

T H E L I T E R A T U R E Brausten

alie

Berge

Johannes Brahms

Briskly

m -

a

J¡U

§

Jr ' J

r

r ^ p Ir

r

r

±= L j

i f

•? 1 — ^—¡>—J ==

r ^ -

L

2

n

i

J.

'I

Golden

Andante 4

Mornings

Traditional English Carol

o

3 i

5

* — 0 -

T H E SIXTH

C H A P T E R VI

9 3

•

3

Mon

Dieu

(My God)

Anthoine d e Bertrant J =98

=#=

M í

r,

m

9

•

»

i w|

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O

T.

V

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r

0

1

^ ~

1 J

L

•

4

Celui

q u i p e n s e pouvoir

(Hew h o thinks can have) Paschal d e L'Estocart

= 88 y

-> í

o

iJ

•

r

1 •J-

~9

-0

1

Ir o

a

:° J

e

"

°

0>

1\

f \—\

fiun Mases Jamaican Folk Song

5

m

Q u i t e fast —r

m

P j j i Jim

4

•

3

/

6

Remember

Polish Tango Slowly D

5

•

'—

M

•

• — W

m .

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9 4

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— ~&-—¿r*»—*-»- — # w

C H A P T E R VI

T H E S I X T H

•

m a

1-

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j

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. —

n

n

i

f

—

7

*

í

—

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Feldelnsamkelt

Brahms Slowly

-•W-f

t j

r

J

M-p- -t=J-

\ uJ — n

•

m

—•

J jn

#4=

«|—,l

•y g» *

tFI=

al

^=1

— p '

4 - u

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i —

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A

8

*^é-

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1

Symphony No.40 Wolfgang Amadeus Mozart Slowb T P-"-

r - r * — r

4 /i

Q

a

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4

Q

l

J

*

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i

a

a

4i

^

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n

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r

™

^

1

Symphony No.6 Ludwig van Beethoven 0 o

1

J

~

^

4

-L-

^ - F - F -

9

. r

k

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T H E S I X T H

• 1 2

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T H E SIXTH

C H A P T E R VI

9 9

C A N O N S It Must

Q u i t e fast

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three times,

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* A c a n o n w h o s e t e x t i s a p u n o n t h e ñame o f t h e c o m p o s e r F r i e d r i c h K u h l a u : hühl ( c o o l ) , nicht ( n o t ) , lau ( l u k e w a r m ) . f i n Germán, B s i g n i f i e s B t ; H, Bh. W e d o n o t k n o w i f t h e u s e o f t h e n o t e s B b - A - G - B ^ ( o r , i n Germán, B - A - C - H ) w a s a n i n t e n t i o n a l a l l u s i o n t o t h e c o m p o s e r ' s ñame.

100

CHAPTER VI

T H E S I X T H

•

An ti-

3

Cherubini*

Friedrich Kuhlau F a s t (3 1.

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T H E S I X T H

CHAPTER VI

1 0 1

•

O Lord,

5

How

Georg Telemann

Q u i t e s l o w l y (2 voices) 0

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T H E SIXTH

CHAPTER

three

times

VI 1 0 3

f I

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Pleni sunt

(2

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coeli

Josquin Desprez

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104

CHAPTER

VI

T H E SIXTH

•

four

times

C H A P T E R

VII

THE SEVENTH

T h e

M i n o r

S e v e n t h

T h e m i n o r s e v e n t h ( m 7 ) i s t h e i n t e r v a l oí t e n h a l f s t e p s , o r h v e w h o l e s t e p s , f r o m a n y p i t c h i n e i t h e r d i r e c t i o n . T h e m i n o r seventh iso f great i m p o r t a n c e to the entire tonal system because i tisa m e m b e r o fthe d o m i n a n t seventh c h o r d , w h i c h consists o f o n e m a j o r t h i r d a n d t w o m i n o r thirds:

T h i s c h o r d , a n d t h e r e f o r e t h e i n t e r v a l itself, d e m a n d s r e s o l u t i o n i n a t o n a l context, w h e r e traditionally all sevenths melodically "settle d o w n " to a sixth:

W e shall s t u d y a n d practice t h e m i n o r s e v e n t h f o r its o w n p a r t i c u l a r s o u n d characteristic, however, s o that w h e n w e m e e t i ti n n o n t o n a l surroundings (i.e., i n m a n y m u s i c a l c o m p o s i t i o n s o f t h e t w e n t i e t h c e n t u r y ) i t w i l l p r e s e n t n o d i f f i c u l t y — r e g a r d l e s s o f w h e t h e r o r n o t i t is r e s o l v e d o r w h e t h e r i t is p r e c e d e d or followed by a n o t h e r m i n o r seventh or a n even m o r e dissonant interval. I n t h e course o fthese exercises, w e shall b e m a d e aware o fthe m a n y different combinations o fintervals that m a y b e contained within the m i n o r seventh, s u c h a s t w o p e r f e c t f o u r t h s , a p e r f e c t fifth a n d a m i n o r t h i r d , a n d s o f o r t h . Y o u s h o u l d practice these c o m b i n a t i o n s w i t h great care s ot h a t they m a y serve as guidelines for y o u to " t u n e " the m i n o r seventh well. T r y this exercise before any o f the others:

o o

v

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T H E S E V E N T H

> o

o

> o o

CHAPTER VII 1 0 5

P R E P A R A T O R Y

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h s e t a n d t h e n s i n g t h e r e s t o f t h e s e t a cappella. R e p e a t e a c h s e t u n t i l i t is m a s t e r e d .

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T H E P I T C H A N D

SING

Play the w r i t t e n note o n the piano a n d sing a m i n o r seventh

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Play the w r i t t e n note, t h e n sing the appropriate interval. m7 down m7 down m7 up

m7 up

m7 down m7 up

m7 down m7 up

m7 down m7 up ka.

o

í

-em7l

m7l a

m7l a

m7 down mi down

m7T

m7l

la

m7l

m7Í

m7l

m7l

m7l

m7l

a -o-

T H B S E V E N T H

C H A P T E R VII

107

m7Í

m7l

, m7|

_Q

n7Í

m7|

m7

m7l O

m7Í

m7l

o

o

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m7Í

m7Í

m7Í

B

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t

m7l

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m7Í

m7t

m

1

r-w.

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m7f

m7Í

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m7Í

m7Í

m7f

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m7j

m7Í

m7l

—J

O

m7Í

m7í

m7J

m7j

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o

N O N R H Y T H M I C

E X E R C I S E S

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108

C H A P T E R VII

i

•

II

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T H E

S E V E N T H

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7

T h e

M a j o r

S e v e n t h

T h e m a j o r s e v e n t h ( M 7 ) is t h e i n t e r v a l o f e l e v e n h a l f s t e p s , o r f i v e w h o l e s t e p s a n d o n e h a l f s t e p . I t i s t h e i n t e r v a l o f g r e a t e s t tensión w i t h i n t h e o c t a v e . T h e m a j o r s e v e n t h has c o m e t ob e called " t h e c o n t e m p o r a r y composer's disease" because it has b e e n u s e d s of r e q u e n t l y i n m u s i c o ft h e t w e n t i e t h century. I t s use a s a m e l o d i c i n t e r v a l before t h e t w e n t i e t h c e n t u r y was rare a n d always w i t h i n a m u s i c a l c o n t e x t i n n e e d o f resolution, usually by "settling d o w n " to a sixth:

4V V*

le-

or

le

río

o

T H E S E V E N T H

C H A P T E R VII 1 0 9

Today, consecutive sevenths, b o t h melodic a n d h a r m o n i c , are commonplace, c r e a t i n g t h e k i n d o f m u s i c a l tensión t h a t c o m p o s e r s o f t h e p a s t f e w d e c a d e s have b e e n interested i n conveying. Practice the m a j o r seventh carefully. T h e n o n r h y t h m i c exercises, aswell ast h e excerpts f r o m m u s i c l i t e r a t u r e , s h o u l d provide m a n y opportunities to b e c o m e well acquainted with this interval. P e r h a p s a n o t h e r s h o r t p r e l i m i n a r y e x e r c i s e w i l l h e l p t o firmly e s t a b l i s h this difficult i n t e r v a l i n y o u r ear:

-o-

o

m

o

P R E P A R A T O R Y

t"tt° t '

o

o o

o

TT

un

O

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h s e t , a n d t h e n s i n g t h e r e s t o f t h e s e t . K e e p e a c h se) u n u i t h e s o u n d s a r e w e l l i m p l a n t e d i n v o u r e a r . 4

repeating

5 O

8 9 ' H

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12

11

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P l a y e a c h w r i t t e n n o t e o n t h e p i a n o a n d s i n g a m a j o r s e v e n t h above i t .

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P l a y e a c h w r i t t e n n o t e a n d s i n g a m a j o r s e v e n t h below i t .

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Play the written note a n d sing the appropriate interval. M7 down M 7 down M7 down M7 up O o

M7 up

M7 down M7 down M 7 up

M7 down M 7 down M7 down M7 down

o o

T H E S E V E N T H

3T

C H A P T E R VII 1 1 1

M7Í

M7l

M7Í

M7|

M7Í

M7Í

M7t

M7l

M7i

Q

M7Í

M7Í

O

331

O

fe

M7Í

M7i

M7

M7|

M7l

M7Í

M7Í

M7Í

M7Í

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f

M7J

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M7l

M7Í

M7Í

M7J

M7Í

o:

M7|

M7I

M7l

M7Í

M7t

M7Í

O

o

N O N R H Y T H M I C

M7i

Ja-

M7| O

M 7

f

M7l O-

E X E R C I S E S

P l a y t h e first n o t e o n l y a n d t h e n p e r f o r m t h e r e s t o f t h e e x e r c i s e a c c o m p a n i m e n t . C h e c k y o u r p i t c h after c o m p l e t i n g each exercise. •

•

1

2

112

C H A P T E R VII

M7Í

T H E

S E V E N T H

without

•

3

T H E S E V E N T H

C H A P T E R VII

113

M i x i n g

M i n o r

S e v e n t h s

a n d

M a j o r

S e v e n t h s

It is i m p o r t a n t t o r e m e m b e r that there is a "large" (major) a n d a " s m a l l " ( m i n o r ) seventh. Differentiate b e t w e e n t h e m carefully, since pitch suffers g r e a t l y i f t h e s e o r a n y o t h e r i n t e r v a l s a r e m i s t u n e d ; t h i s is e s p e c i a l l y s o o f t h e larger ones.

P R E P A R A T O R Y

E X E R C I S E S

P l a y t h e first p i t c h o f e a c h s e t o n t h e p i a n o ; s i n g t h e o t h e r s

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S E V E N T H

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S O U N D

T H E P I T C H A N D

S I N G

Play the w r i t t e n note, t h e n sing the indicated interval. M7down

m7down

m7down

M7 up

U

M7down

m7up

M7down

1

. 311

m7l

m71

M7Í

m7l

bo

M7down

O

M7Í

M7| O.

m7|

m7Í

O

M7J

m7

Jo

m7|

M7Í

po-

m7|

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A u g m e n t e d

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0

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S e c o n d

T h e a u g m e n t e d s e c o n d (A2) i s m a d e u p o f t h r e e h a l f s t e p s , o r o n e w h o l e s t e p a n d o n e h a l f s t e p , a n d t h e r e f o r e s o u n d s l i k e a m i n o r t h i r d . I n f a c t , i t is o f t e n n o t a t e d as a m i n o r third. M a n y e t h n i c repertories, s u c h as B a l k a n , N e a r Eastern, a n d Jewish, however, feature the a u g m e n t e d second asa n integral p a r t oí t h e i r m e l o d i c v o c a b u l a r y . T w o e x a m p l e s a r e t h e " H u n g a r i a n m a j o r " scale:

134

C H A P T E R VIII

T H E TRITONE A N D E N H A R M O N I C

INTERVALS

a n d the " H u n g a r i a n m i n o r " scale ( A h a v a h R a b b a h m o d e , J e w i s h ) :

Harmonically, t h einterval warrants o u r consideration. A s w e have seen i n C h a p t e r s I a n d I I , t h e h a r m o n i c m i n o r scale contains a n a u g m e n t e d second b e t w e e n t h e s i x t h a n ds e v e n t h scale degrees; this is b e c a u s e i n c o m m o n h a r m o n i c practice t h eleading tone m u s t b e present t o f o r m a major d o m i n a n t seventh chord. So concerned were t h e original practitioners o f o u r eighteenth- a n d nineteenth-century h a r m o n i c system that they built strict a d m o n i tions into their voice-leading rules about avoiding t h e a u g m e n t e d second b y all means; they felt t h a t this interval, like t h e tritone, w a s t o o difficult t o perf o r m . Today, however, w e c a n n o longer avoid studying this interval since ethnic repertories that contain augmented seconds area growing segment o f our m u s i c a l «cene. Practice these exercises diligently, f o r t h e interval appears that will b e f o u n d i nm u c h o f today's literature.

P R E P A R A T O R Y

h e r e i n ways

E X E R C I S E S

P l a y t h e first n o t e o f e a c h s e t o n t h e p i a n o , a n d t h e n s i n g t h e n e x t n o t e . 2

3

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P l a y t h e n o t a t e d p i t c h , t h e n s i n g a n a u g m e n t e d s e c o n d below i t .

i

po /' P l a y t h ert n o t a t e d p i t c h , t h e n s i n g a n a u g m e n t e d s e c o n d above i t . ;o '

T H E TRITONE A N DE N H A R M O N I C

O

INTERVALS

I

I

I

I

CHAPTER

VIII

135

N O N R H Y T H M I C

E X E R C I S E S

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J

1

INTERVALS

L i k e a waltz ( i n 1 )

2

p*

si

3 Happily 0

^

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»

m

0

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^

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m "1

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t h e

D i m i n i s h e d

r

ffr

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n

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S i x t h

a n d

S e v e n t h

O u r study o f intervals w o u l d n o t be complete w i t h o u t a brief discussion o f the a u g m e n t e d sixth (A6) a n d the d i m i n i s h e d seventh (d7). A l t h o u g h b o t h interv a l s a r e e n h a r m o n i c s p e l l i n g s o f o t h e r i n t e r v a l s , t h e first o f t h e m i n o r s e v e n t h a n d the second o f the major sixth, their use within augmented sixth a n d d i m i n i s h e d s e v e n t h c h o r d s , t w o h a r m o n i e s e m p l o y e d frequenüy d u r i n g t h e common-practice period, makes it necessary for us to practice t h e m . Play the following h a r m o n i c patterns o n the p i a n o a n d n o t e the spellings o f the augm e n t e d sixth c h o r d a n d d i m i n i s h e d seventh chord. M o s t c o m m o n l y used augmented sixth chords and their resolutions: -jf \

t)

o»

-

*x>

o

8

or V

s

:

° o

r t " 1> " < > \ A6 (Italian) 6

o üi

6

H

|

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1

m

or V i

*

o

o V

li

(also in minor)

T H E TRITONE AND ENHARMONIC

L

*>

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ty

p i y-

INTERVALS

O A6 i f (Germán) ( i n m i n o r only)

Ll

C H A P T E R VIII 1 3 7

-

h f t -

— B

-tr* y-

L

- i



«

§

o

o

or

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A6 (French)

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(also in minor)

or k_li]

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o

o

A6 i| Doubly (¡n Major augmented only)

C o m m o n h a r m o n i c a n d m e l o d i c uses o f the d i m i n i s h e d seventh c h o r d :

d7 97

8

°

Id?-

8

P

fer

o

^g_J_

g

ferfe

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T h e intervals o fa n augmented sixth and a diminished seventh a r e most i m p o r t a n t visually a n d psychologically, for they d e t e r m i n e u p w a r d o r d o w n w a r d m o v e m e n t i n t o n a l m u s i c : t h e s h a r p e d p i t c h (es) m u s t m o v e u p w a r d w h i l e t h e f l a t t e d p i t c h (es) m u s t m o v e d o w n w a r d . C o n t e m p o r a r y c o m p o s e r s use t h e s e i n t e r v a l s s i m p l y t o c l a r i f y t h e m o v e m e n t o f a p a r t i c u l a r set o f p i t c h e s , not necessarily because o f h a r m o n i c considerations. I n a c t u a l m u s i c l i t e r a t u r e w e find v e r y f e w i n s t a n c e s o f m e l o d i c a l l y n o t a t e d a u g m e n t e d sixths, b u t h a r m o n i c a l l y n o t a t e d a u g m e n t e d sixths a r e i n a b u n d a n c e . T h e m e l o d i c a l l y n o t a t e d d i m i n i s h e d s e v e n t h i s frequenüy u s e d .

NONRHYTHMIC

EXERCISES

' • ,

u • * . * ' $' 9»

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9+

2

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138

CHAPTER VIII

^

T H E TRITONE A N D ENHARMONIC

INTERVALS

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SPECIALLY COMPOSED MELODIES EMPHASIZING T H E AUGMENTED SIXTH AND DIMINISHED SEVENTH •

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T R I T O N E

A N D E N H A R M O N I C

I N T E R V A L S

C H A P T E R VIII 1

3

9

Moderately slow quarters

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C H A P T E R

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VIII

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T H E T R I T O N E AND

•

J r

ENHARMONIC

J

'

7

7

1

1 '

INTERVALS

Exercises for

M E L O D I E S

F R O M

Performance

T H E

L I T E R A T U R E

a 1

S y m p h o n y Ludwig van

N o . 5

Beethoven

Andante con moto

•

2 Quite slowly ; fe

» 4 i

e ^

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i

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71

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r

fea

tr

r

r

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tt

r

it * f e i m T

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S y m p h o n y

N o . 4

Gustav

Mahler

^+

iy. r r i i - 3 f e - w f e -4

i

m

r

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M

,

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Very slowly r •

*

r r

J

r

r

r

y

r

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ir

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R i c e r c a r e f r o m The Musical

Offeríng

Johann Sebastian

l

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f

e

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O

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t

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|

f

e

£ lJ

T R I T O N E AND ENHARMONIC INTERVALS

f

Bach

m e

fe?f^^

C H A P T E R VIII

141

'María"

f r o m

West

Side

Story

Leonard Bernstein Moderato con anima

f

•

f

e

3—'

5

s>

f>w

Y

p i [ - r f j r

f

,

3-

r r • r r i

P

i

r

r

| | J

r

f

'r'"r'

p

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J

J

P r

^

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Violin

? H

Concertó

Jean Sibelius 3 fe) * 4 ¿.

¿ L J

i

-« — f

h

1

, 1

=

F

d i — f e

J1

- ^ f e f e - * - - J.

J 1*

~ H —

fe

u

s

0

d

—

'

0

-6M

• h» J

*

~ » - b » J ii fí

4 = V ^

~i i "i i 9 J ^ N J t

r I r h i ^ T= t = h r - [ Y i-

fe

feriífír/iferjifefe

•

6

P i a n o Concertó N o . 2 4 , K . 4 9 1

Wolfgang Amadeus Mozart *-

/ \>

f

l>

' \> + r

,

V 1

= r — * —

V 7

i>

J

. 1 7

¡

r

142

7

P'

1

i* •J

C H A P T E R VIII

- # —

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T H ETRITONE AND ENHARMONIC INTERVALS

I » 7

Was solí d e r Zom

(What m a t t e r s t h e

anger)

Hugo

Wolf

i

Very slowly

-fe "

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w—"—

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Jl,.

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w

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é

—

f

•

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—

í-l

C e l l o Concertó Frederick

Delius

C o n m o l t o tranquillo

-

H

[_[J u T y

ll7)

1

1

P

^

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L

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; : r

i« u r

J

#

f

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D U E T S •

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j

J

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•

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i

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f

THE

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*

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i

•

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7

= =

7

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1

T R I T O N E AND ENHARMONIC INTERVALS

C H A P T E R VIII

143

É

B

*f

''U

fe

144

T 7

fe

C H A P T E R VIII

T H E T R I T O N E AND E N H A R M O N I C INTERVALS

T H E T R I T O N E AND E N H A R M O N I C I N T E R V A L S

C H A P T E R VIII

145

J. = 56

JJJ _/trrr frrf 1

m

fe

•

4=p

L_¿

0

j

j)i

11

fefe

—a'

^* r-i „ J — H t -

fe*

-

C H A P T E R VIII

—

i

#

—

.

t

—

fefe

I^IJ Jl~d

i [ M J i -— - 3 - ^ —^ '

146

fe

1 —

y

G

0

é

1 ¿—J fe

T H E T R I T O N E AND ENHARMONIC INTERVALS

C H A P T E R

I X

O T H E R

S C A L E S

Modal Scales and Other

Scales

N o w that w e have considered all t h eintervals that appear w i t h i n m a j o r a n d m i n o r scales, as w e l l a s t h e t r i t o n e a n d s o m e e n h a r m o n i c i n t e r v a l s , w e c a n t u r n o u r a t t e n t i o n t o a f e w o t h e r scales. T h e s e s c a l e s — m o d a l , c h r o m a t i c , w h o l e - t o n e , a n d o c t a t o n i c , a s w e l l a s f o l k a n d syntheüc* s c a l a r c o n f i g u r a t i o n s — h a v e c o m e i n t o use w i t h increased f r e q u e n c y w i t h i n t h e last h u n d r e d years o r s o . M e l o d i e s based o n m o d a l scales h a v e b e e n c o m p o s e d f o rh u n dreds o f years, b u t since the B a r o q u e p e r i o d t h e y have n o t b e e n a p r e d o m i n a n t p a r t o f t h e W e s t e r n classical r e p e r t o r y . W i t h t h e d a w n i n g o f t h e t w e n t i e t h century, however, w e have seen a revival o finterest i n m o d a l writing, especially in impressionisticmusic. Similarly, with the g r o w i n g interest i n folk music, ethn i c scales o f a l l types h a v e c o m e i n t o t h e c o n s c i o u s n e s s o f W e s t e r n c o m p o s e r s . B e c a u s e t h e s e v a r i o u s scales a r e a m a j o r fact o f l i f e i n m u c h o f t h e m u s i c t h a t i s currenüy h e a r d , w e w i l l t r e a t t h e m o n e b y o n e i n t h i s c h a p t e r .

Modal

Scales

SCALE CONSTRUCTION A N D NONRHYTHMIC

EXERCISES

P l a y t h e first n o t e o f e a c h s c a l e o r n o n r h y t h m i c e x e r c i s e o n a n i n s t r u m e n t , t h e n sing t h e rest o f t h e exercise. C h e c k t h e notes after y o u have repeated the exercise at least t h r e e times.

D o r i a n •

1

o

o

-SZZ-

o

O

O

o

o

* B y synthetic w e m e a n scalar c o n f i g u r a t i o n s m a d e u p by composers, consisting o f n o n traditional patterns that suit the composer's particular purpose.

OTHER SCALES

CHAPTER IX

147

•

2* &€»

0

frr\

i»

V4J

•

. 1

0

} K4 \

/

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>€1

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«1

1 I1 1

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j

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¿ H

j U ^ - U ^ .

2

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n °

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0

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>*>

1

'*-»

O

1 11

3

* Y o u m a y b e g i n a m o d a l , s y n t h e t i c , o r a n o t h e r type o f scale o n a n y p i t c h , b u t y o u m u s t , o f course, b e c a r e f u l t o use t h e p r e s c r i b e d p a t t e r n o f h a l f a n d w h o l e steps o f t h e particu l a r scale.

148

CHAPTER IX

OTHER

SCALES

Lydian

•

2 17

M • fk\

J¡

•

3

•

4

o

li it

°

o

11 J T

1

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tj

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C H A P T E R

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O T H E R

S C A L E S

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MODAL SCALE

COMBINATIONS

T h e f o l l o w i n g exercises w i l l test y o u r k n o w l e d g e o f t h e e x a c t m a k e u p o f t h e d i f f e r e n t m o d a l scales as y o u m o d u l a t e f r o m o n e scale t o a n o t h e r . S i n g t h e first t w o e x e r c i s e s c a r e f u l l y a n d t h e n f o l l o w t h e d i r e c t i o n s f o r c r e a t i n g o t h e r c o m b i n a t i o n s o f scales. 1. S t a r t i n g o n t h e p i t c h D , s i n g a m a j o r scale u p , a n d t h e n a p h r y g i a n scale d o w n ( a n d vice versa).

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2. S t a r t i n g o n t h e p i t c h C , s i n g a m e l o d i c m i n o r s c a l e u p , a n d t h e n a m i x o l y d i a n scale d o w n ( a n d vice versa).

N o w practice i n a similar manner: 3. 4. 5. 6.

Starting o nthe Starting o nthe Starting o nthe Starting o nthe scale d o w n .

pitch pitch pitch pitch

E , sing a l y d i a n scale u p , t h e n a d o n a n scale d o w n . A , sing a l o c r i a n scale u p , t h e n a n a e o l i a n scale d o w n . Eb, sing a m a j o r scale u p , t h e n a m i x o l y d i a n scale d o w n . F l , sing a h a r m o n i c m i n o r scale u p , t h e n a p h r y g i a n

N o w make u p your o w n combinations.

SPECIALLY COMPOSED MELODIES EMPHASIZING MODAL S C A L E S •

Phrygian

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CHAPTER IX

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CHAPTER IX

OTHER

SCALES

Exercises for

Performance

EIGHT F O L K S O N G S B A S E D ON MODAL AND OTHER S C A L E S •

K a s o n - T a r t a r M e l o d y

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CHAPTER IX

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C H A P T E R IX 1 5 9

160

CHAPTER IX

OTHER

SCALES

OTHER SCALES

CHAPTER IX

161

CHAPTER X

C H O R D S

Chords and Simultaneities N o w that w e h a v e m a s t e f e d a l l o u ri n t e r v a l s a n d scales, l e t u s s i n g s o m e o f these intervals i n s i m u l t a n e o u s c o m b i n a t i o n s . U s u a l l y w e t h i n k o f c h o r d s as stacked thirds, b u t i n t h et w e n t i e t h c e n t u r y composers have e x p e r i m e n t e d with some w o n d e r f u l chordal structures that are based o nall o f the intervals we have studied. I no r d e r t o g e ty o u r ears a c c u s t o m e d t o these sounds, study t h e e x e r c i s e s i n t h i s c h a p t e r c a r e f u l l y , r e p e a t i n g e a c h o n e a s m a n y times a s n e e d e d . W e s u g g e s t t h a t as a class y o u s i n g t h e series o fs i n g l e p i t c h e s t h a t p r e cedes each succession o f chords before y o u a t t e m p t t o sing the actual simultaneities.

LIKE-INTERVAL

CHORDS

S i n g each succession o f c h o r d s a t t h e pitches that are given, t h e n select t h r e e a d d i t i o n a l s t a r t i n g pitches a n d s i n g t h e t r a n s p o s e d series.

M a j o r

T h i r d s

o

-o

1

4

r O

O

í

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C l a s s s i n g s : first t h e w o m e n , t h e n t h e m e n , t h e n t o g e t h e r . F i n a l l y , m i x u p t h e parts between m e n a n d w o m e n .

162

CHAPTER X

CHORDS

Minor

Thirds

«.

4

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^

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p>o-

Class sings:

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pe

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CHORDS

CHAPTER X

163

Class sings:

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Class sings:

DIVERSE-INTERVAL C H O R D S I n t h e f o l l o w i n g p a i r e d e x e r c i s e s , first s i n g e a c h c h o r d a s a b r o k e n c h o r d ( c a l l e d a n arpeggio)—that is, each n o t e separately f r o m t h e b o t t o m u p a n d t h e n f r o m t h e t o p d o w n , as i n E x a m p l e l a . T h e n as a class, s i n g t h e s e s a m e c h o r d s a s h a r m o n i c s i m u l t a n e i t i e s , p r o g r e s s i n g direcüy f r o m o n e c h o r d t o another (Example Ib). •

1

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CHAPTER X

165

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Sing these chords very slowly:

i—u

p

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1

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9

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1

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g

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i

EXERCISES

C h o o s e a n yo fthe chords that a r e given above a n d p e r f o r m t h e m i nt h e foll o w i n g t w o ways: SÍ 1

S i n g t h ec h o r d u p a n d d o w n as a na r p e g g i o a n dt h e n transpose i tu p a step, p e r f o r m i n g i t i n t h e samé w a y . K e e p t r a n s p o s i n g t h e c h o r d u p a s t e p e a c h time.

166

CHAPTER X

CHORDS

• 2

S i n g t h e c h o r d u p a n d d o w n as a n a r p e g g i o a n d t h e n s e q u e n c e i t u p o r d o w n a h a l f step, a third, o r any o t h e r i n t e r v a l that y o u o r y o u r i n s t r u c t o r chooses. Because o f vocal limitations, y o u m i g h t stop transposing at the interval o f a t h i r d i n b o t h d i r e c t i o n s s i n c e t h e c o m p a s s o f t h e c h o r d s is s o l a r g e .

• 3

A s a class, c h o o s e a n y of t h e c h o r d s g i v e n a b o v e a n d p e r f o r m t h e m b v b u i l d i n g the chord f r o m the b o t t o m up and t h e n holding it before sequencing it up or d o w n a h a l f step, a w h o l e step, a t h i r d , etc.

etc.

etc.

CHORDS

CHAPTER X

167

P A R T

T

W

O

Rhythmic Studies

C H A P T E R XI

LEARNING ABOUT RHYTHM

Definition of Rhythmic

Terms

M u s i c , l i k e d a n c e , i s basicaüy a t e m p o r a l a r t . T h a t m e a n s i t i s d e p e n d e n t t o a g r e a t e x t e n t o n t h e dimensión o f t i m e , t h r o u g h w h i c h i t p a s s e s . T h e w a y w e organize music w i t h i n a t e m p o r a l , rather t h a n spatial, f r a m e w o r k is called rhythm. T h e w o r d c o m e s f r o m t h e G r e e k rhythmos, m e a n i n g f l o w o r conünuity. Plato said, " R h y t h m is o r d e r e d m o v e m e n t . " S o m e o t h e r standard d i c t i o n a r y definitions m a y h e l p us f u r t h e r to u n d e r s t a n d this i m p o r t a n t concept: R h y t h m i s t h e organizaüon o f p i t c h e s i n r e c o g n i z a b l e p a t t e r n s . R h y t h m is a " p e r i o d i c q u a l i t y " — t h e r e g u l a r a n d i r r e g u l a r o f a l l m u s i c a l movement. R h y t h m i n t h e broadest sense ist h e o r g a n i z a t i o n o f d u r a t i o n . O n e i s o l a t e d , n o n r e p e a t e d s o u n d c a n n o t constítute a r h y t h m ; h o w e v e r , i t can b e c o m e a u n i t o fa r h y t h m i c phrase. I fthis single u n i t is c o m b i n e d w i t h o t h e r s o f e q u a l d u r a t i o n , i t b e c o m e s a pulse o r a beat. T h e o r g a n i z a t i o n o f pulses i n t o g r o u p s o rt w o s , t h r e e s , f o u r s , etc., is c a l l e d meter. M e t e r i s a c h i e v e d b y p l a c i n g a stress o r a n accent o n t h e first p u l s e o f e a c h pattern. W h a t w e m e a n by a m u s i c a l accent is any k i n d o f emphasis o n a beat o r p i t c h t h a t m a k e s i tstressed o r m o r e p r o n o u n c e d t h a n the rest o ft h e pattern. W i t h o u t s o m e k i n d o f accents, w h e t h e r regular o r irregular, notes b e c o m e s i m p l y a " m o n o t o n o u s s e r i e s o f p u l s e - g r o u p s , " a s P a u l Crestón p u t s i t . T h e r e a r ethree basic ways o f achieving the f e e l i n g o f accent i n a pulse grouping, notwithstanding the natural tendency t ogroup irregular o r regular sounds i n t o patterns o f twos a n d threes (for example, the ticking o f a clock or a h a m m e r i n g outside o u r d o o r ) . T h e y are: 1 . Dynamic accent—performing

a note louder than the others: Overture t o The Magic Flute

Wolfgang Amadeus Mozart

LEARNING A B O U T R H Y T H M

CHAPTER XI1 7 1

2 . Agogic accent—making

a note longer than t h e others: S y m p h o n y No. 9

Ludwig Van Beethoven i

A l l e g r o assai

g * n T T T 7 T m r r i r c : r r i r r 3 . Tonic. or pitch accent—having

o n e note higher than t h e others: S y m p h o n y No. 4

Félix Mendelssohn Allegro vivace

T h e r e are o t h e r ways o f achieving accentuation, f o r instance by h a r m o n i c or textural weight—i.e., h a r m o n i z i n g o n e note with a greater dissonance o r w i t h g r e a t e r d e n s i t y o f t e x t u r e t h a n t h e o t h e r s . T h i s i s c a l l e d e i t h e r harmonic accent o r weight accent. A n o t h e r a c c e n t i s c a l l e d t h e embellishment accent b e c a u s e it is t h e e m b e l l i s h m e n t o r t h e o r n a m e n t a t i o n t h a t calis a t t e n t i o n t ot h e particular note. S y m p h o n y No. 103

Franz Joseph Haydn Menuetl o

lÜ'l

fe"

i)

-

\> i 1»

l

9 *

f 9 t . l > , tt > /

v\, k %

1

r-Bfc- r -i* •• */ i>

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T h e m e t r i c g r o u p s o f b e a t s , w i t h t h e first b e a t a c c e n t e d s t r o n g l y o r s o m e times a l m o s t i m p e r c e p t i b l y b y a n y o f t h e a b o v e m e a n s , a r e c a l l e d measures. T h e s e a r e s e p a r a t e d f r o m e a c h o t h e r b y barlines. A measure o r a bar m a y b e called t h e distance between two barlines. T h e speed w i t h w h i c h t h e beats o c c u r o rare p e r f o r m e d i n music is called tempo. A t t b e b e g i n n i n g o f a p i e c e o f m u s i c , w e m a y find a v e r b a l d e s c r i p t i o n o f the speed o r t e m p o a t w h i c h i tis t o b e p e r f o r m e d , o r a precise m e t r o n o m e m a r k i n g . T h e m e t r o n o m e m a r k i n g indicates h o wm a n y pulses o rbeats are t o occur w i t h i n every m i n u t e o f a particular m o v e m e n t o rpassage. F o r e x a m p l e , the i n d i c a t i o n J = 4 8 m e a n s that t h e piece is t o b e played slowly, f o r o n l y 4 8 beats ( i n this case 4 8 q u a r t e r n o t e s ) s h o u l d o c c u r i n t h e c o u r s e o fa m i n u t e . O n t h e o t h e r h a n d , a passage m a r k e d J = 1 3 8 w i l l b e p l a y e d fast, s i n c e 1 3 8

172

CHAPTER XI

LEARNING

A B O U T

R H Y T H M

q u a r t e r n o t e s m u s t b e fitted i n t o 6 0 s e c o n d s . T h e m a r k i n g J = 6 0 c a n b e t e s t e d w i t h o u t a m e t r o n o m e , for the u n i t specified (here a quarter note) will have a d u r a t i o n o f one second a n d m a y b eregulated by a watch. I n o l d e r m u s i c , t h e c h a r a c t e r o f t h e m u s i c a n d its n o t a t i o n d e t e r m i n e t h e tempo. As for t e m p o indication by verbal description, we m u s t rely o n o u r o w n perception o fthe music a n d h o w t o achieve greatest clarity o f performance. W e suggest that i f t h e r e is n om e t r o n o m e m a r k i n g , y o u g a u g e y o u r speed o n t h e s m a l l e s t u n i t s o f n o t a t i o n a n d calcúlate a t w h a t s p e e d t h e s e f a s t n o t e s w o u l d b e m o s t clearly defined. Similarly, i n a slow piece, the small units m u s t n o t sound rushed, yet must convey the feeling of m o v e m e n t and "inner beat" t h a t is s o n e c e s s a r y i n g i v i n g a s l o w w o r k c l a r i t y , i n t e n s i t y , a n d v i t a l i t y . I n t h eH a y d n example, t e m p o m u s t b e d e t e r m i n e d b y the speed w i t h w h i c h the sixteenth notes can b e p e r f o r m e d w i t h clarity. O t h e r w i s e , the w o r k t a k e s o n a franüc q u a l i t y . S y m p h o n y No. 99

Haydn Vivace assai

I n the B a c h excerpt, the thirty-second notes m u s t b e the measuring r o d . A l t h o u g h the piece bears a slow m a r k i n g , Adagio, the eighth notes must b e steady a n d n o t drag. Yet the thirty-second notes m u s t n o t b e p l a y e d s ofast t h a t t h e y g i v e a n y k i n d o f franüc f e e l i n g t o t h i s n o b l e a n d r a t h e r p a s t o r a l p i e c e . "Aria Duetto" from C a n t a t a No. 140

Johann Sebastian Bach

violino piccolo

Soprano

Organo fbez.

LEARNING A B O U T R H Y T H M

C H A P T E R X I1 7 3

T a b l e o f R h y t h m i c Valúes

You should

firmly

i m p l a n t t h i s t a b l e o f r h y t h m i c valúes i n y o u r m i n d s o t h a t i l i o n w i l l b e ; ( u n e s e c o n d n a l u r e durínti t l i e c o u r s e oí

üiis s i u d y . Rests

Notes

W h o l e

Half

Quarter i J Eighth

Sixteenth

m

s

1

I

1=1

f

r 1 J

j

J

J

r

Thirty-second

¡Él

i i \ i i ¡ i \

J J J J J . '

Sixty-fourth

Whole = 2 half = 4 quarter = 8 eighth = 16 sixteenth = 32 thirty-second = 64 sixty-fourth notes

174

CHAPTER XI

LEARNING A B O U T

R H Y T H M

F

A d o t f o l l o w i n g a n y n o t e e l o n g a t e s i t b y one-halfof i t s o w n valué. Rests

Notes

zzzzz

o•

0 +J

J.

J . J

J.

J+

m m m m

ÍI

J>

Jl

J l .

J

Less frequently, w e e n c o u n t e r a n o t e f o l l o w e d by t w o dots, w h i c h elongate t h e n o t e b y h a l f t h e valué o f t h e n o t e p l u s h a l f t h e valué o f t h e first d o t . T h e s e a r e t h e m o s t f r e q u e n d y e n c o u n t e r e d d o u b l e - d o t t e d n o t e valúes: Rests

Notes

o

+

J +J

m

1 . J • J •J>

m

J.. . J •

J > . J l

=

J ! .

J l .

-

J > .

J

NONMEASURED RHYTHMIC EXERCISES W e u s e a r h y t h m i c o r t i m e s i g n a t u r e t o indícate t o t h e p e r f o r m e r h o w t h e p i e c e is r h y t h m i c a l l y o r g a n i z e d . T h e t i m e s i g n a t u r e is u s u a l l y c o n s t r u c t e d o f two n u m b e r s . T h e u p p e r n u m b e r signifies the n u m b e r o f beats i n a single m e a s u r e ; t h el o w e r n u m b e r tells t h e u n i t o f m e a s u r e m e n t . T h e signature 4 indicates that there are three quarter notes i na measure, w h i l e l signifies t h a t s e v e n e i g h t h n o t e s m a k e u p t h e m e a s u r e . F o r o u r first e x e r c i s e s , o n l y t h e u n i t m e a s u r e m e n t ( l o w e r n u m b e r ) isconsidered, s o that 4 will m e a n a q u a r t e r n o t e gets a beat, o r g a n e i g h t h n o t e , a n d s o f o r t h .

LEARNING A B O U T R H Y T H M

CHAPTER XI 1 7 5

I n the following exercises: a. S e t a m e t r o n o m e o n 6 0 a n d l e t e a c h b a s i c u n i t e q u a l o n e " c l i c k " o f t h e m e t r o n o m e ; t h e n p e r f o r m the exercises. ( I f n o m e t r o n o m e is available, use a w a t c h o r clap a steady pulse e q u a l to a u n i t n o t e per second.) b. I n t h e c l a s s r o o m , o n e h a l f o f t h e class m a y clap a steady b e a t w h i l e o t h e r half p e r f o r m s the exercises.

the

c. I f a m e t r o n o m e s e t t i n g o f 6 0 ( o r o n e u n i t p e r s e c o n d ) i s t o o f a s t , b e g i n by selecting a slower t e m p o a n d gradually w o r k u p to 6 0 and, eventually, fas ter. d. R e p e a t each exercise at least t h r e e times. e . U s e t h e s y l l a b l e " t a " o r " d o o , " s o t h a t t h e articulaüon o f e a c h n o t e i s v e r y clear.

J = 60

, í

J

, !o

J

JJJ

J J

J. J.

JJ

J

JJJJJ

J

J

JJ JJJJ

J.

JJ

J

J

S

J. J.

JJ

J J J.

J.

Í J „ J J. J J

J

J

J J. J J

0

o II

J.

JJJJ

3 Í J J J J J J J J J J J J J J J J J - J-

< i J.

J

J

J

II

J J J J II

J J J J J J . J J J J II o

J

J

J.

J J J J J II

e í J J J. J J J J J J J J . J J J o J J J . J J J J J J II W i t h rests (clap h a n d s f o r t h e rests).

, i .i:*: J:Ji.:J J J J - J J J . J J J - J J J J ¡I aí

J

J.

i JJ 176

J.

J

'

CHAPTER XI

o

J

*J J J- J

L E A R N I N G A B O U T R H Y T H M

J.

o II

9

X 4

J JJJJ J - JiJJiJ

O

i * J J * J J J *.J J - J J J = 60

1 2 J J o o oI JJJJo

J

J

JJ J- o I * .Í„

J

i

J

* J

i

J

J

J J

J * J * J J II

J.

JJJJ

J J J

iJ

J

i J II

JJJ

J

J

J

J

J.

J

J.

J

J

o JJ

J J

J

J

o JJJJ I

J J

J

J

J. J J J " J J J J. J í J J " J J J

^ = 60

.

m

x

8

n

J

J

n

j> J

7s / 3 J > j > ^ m n M > J

J> r

J J J J J

. ¡ r a ' ^ ' i i ' j n j

20

88

X

J

J>J

n n

/3J^j j ; m j

n j

J I J T J>J

j

m

j ~ n J r j j J> r

LEARNING A B O U T

mi

R H Y T H M

j

J^OT

CHAPTER XI1 7 7

C H A P T E R XII

S I M P L E (COMMON) METER

Simple Duple Meter, t h e "Itoo-Beat" 2

1 Measures i nd u p l e m e t e r c o n t a i n t w o beats. T h e m o s t c o m m o n l y used t w o beat meters are 1 , 1 , 8 , a n d o fthese, w e will p r o b a b l y e n c o u n t e r \m o r e freq u e n d y t h a n the others. Practice all three i n order to familiarize yourself with b o t h t h e s m a l l e r a n d l a r g e r r h y t h m i c valúes.

PREPARATORY EXERCISES

R e p e a t e a c h e x e r c i s e s e v e r a l times, a l w a y s c o n d u c t i n g t h e " t w o - b e a t " p a t t e r n u n t i l i t feels n a t u r a l . T h e n p r o c e e d t o t h e r e g u l a r d u p l e - m e t e r exercises. F o r b o t h preparatory a n d regular exercises, b e g i n rather slowly, a p p r o x i m a t e l y J = 6 0 , J = 6 0 , o r J> = 6 0 ( t h e b a s i c u n i t = 6 0 ) , i n c r e a s i n g t h e s p e e d e a c h t i m e y o u c o m p l e t e a n exercise u n t i l y o u r e a c h a n e v e n t u a l s p e e d o f J = 120, J = 120, o r J> = 1 2 0 ( t h e b a s i c u n i t = 1 2 0 ) .

J IJ J J J IJ J IJ J IJ J J IJ J IJ J II J J IJ J J II 178

C H A P T E R XII

S I M P L E ( C O M M O N )

M E T E R

II

J J IJ IJ J IJ IJ J IJ J J IJ IJ J IJ IJ J J IJ J 8

J

IJ J IJ J II

IJ

II

J l J IJ J IJ1J IJ J IJlJ IJ J IJ

II

JI

u u

n

AinunIJIJ 12

IJ J II

J

u

j 10

II

J

J J

IJ J IJ J IJ IJ J

II

u u

IJIJ

u

J

JI

uJ unIJIJ U n u

n

J77J IJ J l l J J IJTU IJ1J IJ JJ IJ77J IJ J IJ II REGULAR EXERCISES A l l exercises s h o u l d b e conducted w h i l e they are p e r f o r m e d . T h e r e are two quarter notes t oeach beat. R e m e m b e r j = n .

j

JIIJ

u

JIIJ J

u u

j J IJIJ u J I I J I J

J

that J = J J, J J = J J J J,

u n u u jiij

u j u

u rju

S I M P L E ( C O M M O N ) M E T E R

J

J IJIJ

u II u

II

C H A P T E R XII 1 7 9

JJIJ]JIJ]JJIJJIJ]í IJ]JIJJIJilJJ]IJ]7JIJí líJIJJ]||

m\U

IJJ^IJ J]|J JJIJJ^IJ J IJTJJIJ j hjijjiijn

JJJ]|íJIJ]JIJJJI'J)J]|JJ]|JJIJMJJI^J3IJ3JIJíll Sixteenth notes are n o t difficult i f y o u r e m e m b e r

t h a t J = J J J J a n d J = «TJ3 o r

JJ1MJ J IJJSílJ i IJEJJIJJJ>'IJJJ IJJ]J»IJ JJIJJ3M JJ.MJ JJI\WJIJ3JMJ j hJ>jj|jJ3Jj|j Í bj^irjj | ^JIIJJ bJ3J]IJ333JIJ3JJJbJ».MIJ i I J M W r j i j i IJ?J>IJJ3.BSIJ3SJJIJ3JJ333IJJ3J33?I JJ3'J3I/JJT|JJ3JMJ J H I I n the next f o u r exercises the h a l f note receives o n e beat; J = J j

J, o = J J,

=sm.

J J IJ J J lo IJ J J IJ J IJ. J lo IJ J II J J JJ IJ. J IJ J IJ. J IJ J J IJ J J IJ J JJ IJ. MI JJJJJ IJJJJ IJJJJJJ IJ JJJJJ IJ JJJIJ JJTJIJJJJ IJ J*ll JJBJI JJJJJ l*JJJJIJJJJJ*'IJ JJJ IJJJJíJIJJJJOJJIJJJ lo II 180

C H A P T E R XII

S I M P L E ( C O M M O N ) M E T E R

S i n c e t h ee i g h t h n o t e gets o n eb e a t i n these n e x t encounter

thirty-second

notes

These must n o t b efeared!

simply because

J J = fffl,

four

exercises, y o u will

o f t h e smaller

t i m e valúes.

J> = . F U I , J l = J l .

13

n \m\n KMJ~J \sm\n IJ^II

14

n ini IJ73IJ1 lira\IÍ^\JW\n n

15

j

1 65

8 »p#9

\n \m m I a?

H b¡~ I fffl ^

0 00

¡

\ 0000000

j

0000

fcw

^

éé0é0

R

|—q i

é• é \ é0é000éé

i j=?^ M i

\ 00é

0 l l

Simple Triple Meter, t h e "Three-Beat"

M e a s u r e s i nt r i p l e m e t e r c o n t a i n t h r e e beats: 1 , 1 , 8 , a n d ie ( t h e last is relatively r a r e ) . T h e m o s t c o m m o n l y u s e d o fthese signatures is | ; t h e r e f o r e m o s t o f o u r e x e r c i s e s a r e i n t h a t m e t e r . H o w e v e r , y o u s h o u l d a l s o pracüce t h e o t h e r f o u r time s i g n a t u r e s c a r e f u l l y s o t h a t y o u b e c o m e a c c u s t o m e d t o t h e i r v i s u a l a s p e c t s a s w e l l a s b o t h t h e l a r g e r a n d s m a l l e r r h y t h m i c valúes t h e y c o n t a i n .

PREPARATORY EXERCISES R e p e a t each exercise several times, always c o n d u c t i n g t h e "three-beat" pattern, until they a r e a l lcompletely mastered. T h e n proceed t o t h e regular triplem e t e r exercises. O n c e again, b e g i n each exercise slowly ( t h ebasic u n i t = 6 0 ) a n d gradually increase t h espeed s othat each c a nb e p e r f o r m e d eventually a ta m u c h faster t e m p o ( t h e basic u n i t =1 0 0 ) .

J J J ¡JJJ ¡JJJ J J J IJ.

J J J II

S I M P L E ( C O M M O N ) M E T E R

C H A P T E R XII1 8 1

J.

IJ J J

J J

J

IJ

IJ

J J IJ J J JJJ J.

IJ

IJ

IJ J J I I

IJ.

J J IJ.

II

J IJ.

II

IJ

J IJ J J

JII

IJ

•

J IJ J J IJ J J I I

J J J l I J J J l I J J J I J JII JJJJIJJ/JIJJJJIJJJJIJJ*ll JJJIIJJJJ

IJJJJ

mninninm j. j)j j.

\nu\\

u

\ m j)U

J J

J I/JJJ uJJJ IJTJIUu.

u.

in

u J . j ) U J J sj. s>n 182

C H A P T E R XII

u

J I .

IJTTJJ

S I M P L E ( C O M M O N )

u

j>u.

II

J^J I J J

II

J.

u. M E T E R

II

REGULAR EXERCISES All exercises s h o u l d b ec o n d u c t e d while they are p e r f o r m e d . A q u a r t e r n o t e receives o n e beat; J. = J J J, J = J J, J = A

J =

.

J J J IJ J IJ J J IJ J IJ J J IJ J J IJ J IJ * * || j J IJ J i

I I I

JJIJJIJJHJJMJJJ.il

JJ IJ J J IJ J IJ J * IJ ó •

Ié

jJnu JJJ*

é

o

é

*

J IJ/JJ

liJJ.IJIJi

ó-

\é o

uJ IJ

é é

^

IJ/JJ

J

II

J IJJJ IJJ* 0< ó

I ó

IJJJ

J IJJJ IJ i\\ u j j u JII

IJ.J>J l / J J * I J J I J

J Jll

J J J J J I J J J * I J . / J J I J J J J I J J I J J J J J I J J J I J J J J * ¡I

JJ3JW IJJJJ)?* I J J JJ31

JJJJJ

IJ3JJJ IJ333JJJIJJJJJ31J J JII

I n t h e f o l l o w i n g f o u r exercises t h e h a l f n o t e gets o n e beat; J = J J, J = J J J J .

J

J J JJ IJ J - IJ J. J IJ J J I" J J

10

JJ-JJL - IJJJ*JJ

11

JJ- IJJJJ.J ¡JJJJJ IJJJ ¡-JJJJJJU.JJ ¡JJJJJJJ IJJJJ ¡I

12 4,

o

J J J J U J J J J J * i JJJJ»

JJJJJJJJ

I»

JJ" JJ IJJ" J IJJJJ l o J II

I J J J J J J J M J J. J IJ J J J J J J J

- II S I M P L E ( C O M M O N ) M E T E R

C H A P T E R XII 1 8 3

T h e e i g h t h n o t e receives a beat i n the n e x t f o u r exercises. D o n o t b e i n t i m i d a t ed b y t h en u m b e r o f black notes; r e m e m b e r that f o u r thirty-second notes e q u a l o n e e i g h t h n o t e , J> = J~¿~i~¿, S> = J7¡ .

m

13

u.

i n ^ i H i

j J>II i ^ j ^ u

14

\r¡i

y

n

n

\ y

f

f

m

I/TTI h

i

n

n

\

n

n

n -

>

n

15

16 O

0 0 0 0 0

E v e n m o r e black notes result w h e n t h e s i x t e e n t h n o t e receives o n e beat, as i n t h e n e x t s e t o f f o u r e x e r c i s e s ; J$ = J) = ,

17

18

ft J ^ I J 1 |J^7 IJ53

I JTJ' IJ3? i n ?

ftjiij^ijii^ijsij)

inji/nn J1>I ?JJ1 1

19

20

m

II

>l jffl

I/III

\m\nw Simple Quadruple

Meter, t h e "Four-Beat" 4 y

1 M e a s u r e s i n q u a d r u p l e m e t e r c o n t a i n f o u r b e a t s : 1 , I , Íg, 1 • T h e m o s t c o m m o n l y u s e d o f t h e s e , \, w i l l c o m p r i s e t h e b u l k o f o u r e x e r c i s e s , i n c l u d i n g a l l o f

184

C H A P T E R XII

SIMPLE

( C O M M O N )

M E T E R

t h e p r e p a r a t o r y e x e r c i s e s . H o w e v e r , | a n d i 6 a r e q u i t e c o m m o n time s i g n a t u r e s today, a n d 2 was a p o p u l a r signature i n the Renaissance a n d B a r o q u e periods a n d is s t i l l u s e d t o d a y . T h e r e f o r e , s t u d y t h e m a l l c a r e f u l l y i n o r d e r t o a c c u s t o m y o u r s e l f t o t h e v i s u a l a s p e c t s o f l a r g e r a n d s m a l l e r r h y t h m i c valúes i n e a c h signature. 4

PREPARATORY EXERCISES F o l l o w the same directions as those given f o r the duple- a n d triple-meter exercises: r e p e a t e a c h e x e r c i s e u n t i l m a s t e r e d , a n d p e r f o r m i t (as w e l l a s t h e r e g u l a r q u a d r u p l e e x e r c i s e s ) s l o w l y a t first ( t h e b a s i c u n i t = 6 0 ) , e v e n t u a l l y r e a c h i n g a faster t e m p o ( t h e basic u n i t = 100).

IJ J J tJ 4

o

IJ J J

J J IJ

J

J

4 o

JJJJ J

J

J

IJ J J J

J

IJJJ

J

J J J IJ J IJ J J

IJ IJ

J J IJ

IJ J J J I J J J

IJ J J J IJ J J IJ J J

J IJ J J IJ.

J

J IJ J

IJ J J J

J

IJ J

i

IJ.

J J IJ. J

J J IJ J J J IJ

J.

¡J J J1IJ J1J J. IJ. J IJ Jl/JJ IJ S I M P L E ( C O M M O N ) M E T E R

C H A P T E R XII 1 8 5

10

i j J J u. J u J J

,, 1 J J J J *

n

u J J J J u. J u J j II

I J J J J * IJTJJJJ IJ J J II

JJ

. I J J J J * IJ J J J J * IJJJ J J J IJ. J IJ J J J 7 7 J L

II

REGULAR EXERCISES A q u a r t e r n o t e g e t s o n e b e a t i n t h e first e i g h t e x e r c i s e s .

, IJJ* JJJ IJJJJ ¡JJ**J IJ JJJJJ IJJJJ IJJJJ* J ,1 3

J J

IJ. * l l

l*JJJ IJJJ IJ *J IJJJJ IJJJ*J IJJJJ*J IJJ Jll

i J. J IJ JJ

IJJJ * 7

J IJJJ IJTJJ*J IJJJJ J I J . Jll

. I J J U J J J IJ J33JJ J J IJJJUJJ33J IJJJJJ^JJJIJJIJ*- II .IJ'J3J'J3IJJM

J J J J J J J IJ.

elJ*JJ*

JI^J*

4 7

JJ1JJ

I J E * Jffli

IJJJJJJ1J

J IJ35J* * J II

J * IJ J J ^ I J ^ J J II

IJJ3J»J1JJ

IJ5SJ J3SJ~JI

^JJJ^JJJ u j i j j i i j ^ j m r j w i . I J J J U 3 I J . J IJUJ33J J>" J I J J J1IJ1JJ. J>IJJ JJ3J1I

JlJJ*

flJfifmJJJIJlJJJJ 186

C H A P T E R XII

I J ^ J J l*J33JJJJII

S I M P L E ( C O M M O N )

M E T E R

4

4

I n t h e n e x t eight exercises u s i n g 8a n d i6, study t h e measures w i t h t h e greatest a b u n d a n c e o f black notes before a t t e m p t i n g t h ee n t i r e exercise; this way, these thirty-second a n dsixty-fourth notes will n o tsurprise y o u o ri m p e d e y o u r perf o r m a n c e ; J l c a n equal J^jl J .

tilín tiimn wjHjmn IJJ1J3>IJIJIIJ3]> n^titin ¡Wttitintitii J IJIJJJ u mim JI

10

JS.S Jl i J3 J11 Jl . K J ? i JJ" Jl JJ i YJI JÜÜS J I ÜJ* JJ J

11

J^JJV.MJH.S.N'IJE r / l M B J ^ J ' l S J ' l W J I J l J

12

13

-

-

á JTfJ IJ333J1 I ^ S l J l S l J H ÍIJJIJ^JIJJIIJIJ^

14

15

16

á J H Í I Í J U I ^ ^ I J J I J I I j ^ f f l j ] l / S f J iJ^J)? á JIJ) J> IJTOIJ J5 JlIJ3 J3 J I

J) J>

?* I

ñ IJJ

7

I n t h e n e x t f o u r exercises t h e h a l f n o t e receives o n e beat a n d t h e bracketed w h o l e n o t e i s h e l d f o r f o u r b e a t s : ¡oti = J J J J .

J J J. J

J

17á

O.

18

J

19

JJJJJJ

20

O •

o

o

o

J

J

J JJJ J IJJJJ- IJJJ J. J IJ JJJ. J JJ

O

JJJ J JJ IJJJJ-

IMI

JJJ- JJJ - IJ J J JJJIJJ7J* JJJJJ J . / I J J J. J JJJJUJ JJJJJ IJ. JJ J. J IJJJ " II S I M P L E ( C O M M O N ) M E T E R

CHAPTER XII

1 8 7

Syncopation S y n c o p a t i o n , w h i c h literally m e a n s " c u t t i n g u p , " can b e described as a situatíon i n w h i c h t h e m e t r i c a c c e n t o c c u r s o n t h e n o r m a l l y w e a k b e a t i n s t e a d o f coinciding w i t h the regular metric p a t t e m o f accentuation. I t m a y b e called a displacement, a n d i n these situations it is i m p o r t a n t t onote that syncopation results w h e n the pitches fail to fall o n the beat w i t h f r e q u e n c y a n d consistency. Syncopaüon o b s c u r e s t h e b a s i c b e a t , a n d i n s o m e n i n e t e e n t h - a n d t w e n t i e t h c e n t u r y pieces it even has a b l u r r i n g effect o n the r h y t h m . S y n c o p a t i o n can b e a c c o m p l i s h e d by: 1 . t y i n g o v e r t h e s t r o n g b e a t ( w h i c h i n f a n d f i s t h e first b e a t a n d i n \ t h e first a n d t h i r d b e a t s o f a m e a s u r e ) :

i J J IJ J IJ J IJ M o, J J |J>J J)|J)J J)|J í ! J J JJJ JJ. J J I

J J JJJ)J J>JJJ>J J>J

or

i J JJJ J JJJ J J I . JJJJ IJ>J J>J>J JJIJJ J 2. p l a c i n g a rest o n t h e s t r o n g b e a t :

I JJUJUJIJJUJI „rJJ>hJ J»|JJhJJ)fJi 1 J J J U j m j J U J í l orJ»JÜJ3I'J>*^JDIJ'JÜJDIJJt i JJJJIU*JIU*JI*Jíl „J'J?JJIJ'JMJ.J)JJIo 3. p l a c i n g a n a c c e n t o n t h e w e a k beat:

IJJ

IJJ IJJ

i *

J

i

o,

J>J j > i j ) j i>\nn

i J J J I J J J IJJ IJJJI „ JJJJIJJJIJIJJJIJ.

I JJ* J IJJ JJ UJJM „ JJ JJJJUJ J IJJfJ 188

C H A P T E R XII

S I M P L E ( C O M M O N ) M E T E R

The Anacrusis or Upbeat P i e c e s o r p h r a s e s m a y b e g i n o n b e a t s o t h e r t h a n t h e first b e a t o f a m e a s u r e . I f this h a p p e n s , it is c u s t o m a r y t o balance t h e i n c o m p l e t e m e a s u r e a t the beginn i n g o f the piece o r phrase w i t h a similarly i n c o m p l e t e measure a t the e n d o f t h a t p i e c e o r p h r a s e . T h e p r e l i m i n a r y n o t e o r n o t e s a r e c a l l e d anacrusis o r upbeat(s).

anacrusis (upbeat)

j

u

3

j

1 2 3

i anacrusis (upbeat) & 3 &

j

u

j

j

1 2 3

in J

n

i j

u

1 2

nn\i 3

n \n j n

compensation 1 2 3 1 2

i¡

i compensation 1 2&3&

u . n

I

1 2 l

EXERCISES IN SIMPLE METER WITH UPBEATS AND SYNCOPATION Two quarter notes to the measure.

J u J IJ>I J u J uy J \n J u J I u J J J \i / J l

IJ J b / J l

I J T T J lf] j l

u

IJ J b J)i

JllJ J J J I J J I I J I S - ' J I J I J l J J l J 3 S b J T J I J . >|J 7

7

/Jlj/JlJl I ' JU1JJ3] Jl IJ

1^11

/JJUJIJ

IJl *

T h r e e quarter notes to the measure.

J J J bAJl/JIJ J ^ i J l J J IJ333J JJJÜJUJIJ J i J I J J ' J J J J JIJ1J.JJ1IJ1JJJ.J7J171IJEJ^IJIIJIJ JJJJJIJJ^JJjJlJJ^bjjJJIJJJJiJJj^JlIJJ IJJ J*JlJlJ*b/JJJjlJjJJI*J*b/>J*IJ JIJ333JJJIJH S I M P L E ( C O M M O N ) M E T E R

C H A P T E R XII 1 8 9

Four quarter notes to the measure.

. I J J J I J J J J T J J I J J J J J / J / J J I J J J I JJJ JJJJJJ J J J u J I I ,. I J J J J J JJJJJ* J J JJJJJ J J J J J J J i J ^ J J J J I J J J J J j :m J JJ J J i i „ i j . J J J J J J J J J JJJ J J J J J * I J J J J J J J i J J J J J J J J

J JJ JJ J * i

« I J J J J * J J J J J J J J J J J J„JJ.¡JJ 4J33JJJI J J J J I 7

7

7

Two eighth notes to the measure.

13i

M

J>

IJ~J I? J^J^

\fi ti \i

\HT¡\n IJ»? ?

JI.M

i JI^^IJUJIJS.J] JJJI^S|JUJ1IJJ^SIJ) I

«iJ»M>kti

\tiiitiñ^iytifijn

\ JffiH\j>i\

T h r e e eighth notes to the measure.

,71J>I Jj^

J S I / J I S I J53ISÍJS J ?JN J3 JyJ I J S M . S J J J Jl

,a I J J J J Ü J Jl J . J S J ^ I / Í J J J J S S J ^ J J J J J S I J J I J J ? I

, J JJJIJJllJJvJJ^JJJJIJ.jlJJiJl^LSjlIjfJíSlJ? ?l «.i J ? J J J J 3 J ? J J M J Í J M J J J I / Í T J Í / J J J I J ? J 7 J J I / T J ? Jl 7

190

C H A P T E R XII

S I M P L E ( C O M M O N )

M E T E R

Four eighth notes to the measure.

I

J333J1H IJ353 Jjffl1.533I J3S.9.S Ij* J .MI

J31 j~y3iJ33|jr3i J33? ? J31J>?ji3i jr^jiij^a? J>J>? i > ? ^ 711

?j> \ E t i ^ \ ^ ^ n . \ n n \ E ^ t i t i M ^ t i ^ \ I r r e g u l a r División o f a B e a t i n S i m p l e

Meter

U p t o t h i s p o i n t , w e h a v e d i v i d e d e a c h b e a t i n t o t w o o r a múltiple o f t w o e q u a l parts:

o

J

.

J

J

n

etc.

By Three

O

JJJ

half-note triplet

SIMPLE

( C O M M O N ) M E T E R

C H A P T E R XII 1 9 1

less f r e q u e n t l y :

sixteenth-note

triplet

thirty-second-note triplet

J

By Five

=

J

J "3

J

sixteenth-note quintuplet

5 JJJ

J

By Seven

eighth-note quintuplet

J

J.

J

nuarter-note quintuplet

7 sixteenth-note

JJJJ J

eighth-note

JJJJJ

quarter-note

septuplei

septuplet

septuplet

T h e a b o v e a r e t h e m o s t frequenüy e n c o u n t e r e d i r r e g u l a r d i v i s i o n s a n d a r e featured i n the f o l l o w i n g exercises. F u r t h e r irregular subdivisions will b e introduced in Chapter XV.

PREPARATORY EXERCISES P r a c t i c e e a c h e x e r c i s e m a n y t i m e s . I n o r d e r t o a c h i e v e c l a r i t y a n d e v e n n e s s , say a l o u d the n u m b e r s that reflect the subdivisions. D o n o t c o n d u c t these exercises, b u t set a m e t r o n o m e a n d c l a p a t a b o u t 5 0 f o r t h e b a s i c u n i t . W h e n a r e s t o c c u r s i n a n y i r r e g u l a r división o f t h e b e a t , s a y t h e n u m b e r s f o r t h e s o u n d e d n o t e s , a n d b e s i l e n t f o r t h e rests, o r clap d u r i n g t h e rest: -3-

1 2

1

3

2 3

etc.

(clap) (clap) (clap)

, ÍJ J J T 3 m m n 1

1

1

2

3

1

192

2

3

1

2

3

C H A P T E R XII

1

2

n 1

2

m 1

S I M P L E ( C O M M O N )

2

3

1

m 2

M E T E R

3

1

J J II 1

n rh rh

Í j 1

1 2 1 2 3 1 2 3 1

j J 1

VVi V 1

2

.5J J J J JJJ-H J H 4

JJJJ

4

. í „

íJ 7

3

1

2

1

7

J

J~n

7

1 2 3 1 2

JTD JT3 J J J J

J J J J J J J J T J J J J J71J

ím

3

J JJJJJJJ.

J J JTJ J

rn

j j

J

JJJJ J J J Jo

Jl JTJ j j

i

j

7

i

TV n~i r n ^ n J J J J J J i i J J M *

O * j ~ n r^j

iJJJJ

*J J í

íJJllJJJiJlJ íJJJJ JI í J I Jí J 10

IJJJJ

„ i J J nm 12

JTTTJ JTTTJ

JJ

JTJTJ JTTTJ

J JJ J T J J m T O l O T J3SJDJ] J J

I J J JJTTJJJJTJJJJJJJJJJJJJJ JTTJJJJJTJJJJ

. 1 o J JTTTJ JJJ JJJ J JJJJJJJJJ7TJJTJJJJTJJJ S I M P L E ( C O M M O N ) M E T E R

C H A P T E R XII 1 9 3

R e m e m b e r : i f y o u are u s i n g syllables t op e r f o r m t h e i r r e g u l a r divisions, clap t h e rests; i f y o u a r e c l a p p i n g t h e n o t e s , recite a syllable w h e n e v e r t h e r e isa rest.

14

i

JJJITWNTT)JTO?mnjJJT^JJII 3 — '

J * J * J * J J J * J J J U J J * J J J J í JJJJII

X

j

1 r

~i

r

15

4

16

IJ

17

4 J J JJJJJJJ JJJJJJJ J J JJJJJ

18

i JJÍJTJJJJTJTTJJTOJI/TJTOJÍTJTJJJ

19

í J J J J J J * J' J J J J * J J J r J J J J *• J J J * II

J m m

J imm

j j j j JTJTJTI JTJTJTJII

7

22

7

i J i J i J i rrm-> rm rn^nrrrrn n ! J * J * J * JTTJ-J rm m->nJ~H~TJTJ" II -6

21

II

44 J J J 7 J J J J Í J J J J J J J J J J 7 J J J J J J J J J J J J J I I X

20

J lJ J J J J S JJJI

1

i

REGULAR EXERCISES Practice each exercise m a n y times until the subdivisions are absolutely even. T h e g r e a t e r t h e subdivisión o f t h e b e a t — e s p e c i a l l y t h e s e p t u p l e t — t h e s l o w e r the practice t e m p o s h o u l d be. I n these exercises, i tm a y h e l p t o p e r f o r m the triplets, quadruplets, a n d septuplets b y saying t h e n u m b e r s themselves i n o r d e r t o assure greater evenness. C o n d u c t all o fthese beat patterns u s i n g the c o n d u c t i n g patterns pictured o n previous pages.

194

C H A P T E R XII

S I M P L E ( C O M M O N )

M E T E R

T w o q u a r t e r n o t e s tó t h e m e a s u r e .

j j

¡j j

IJTJJ

u /IJu j

IJTJJTJ u JTJ u *

J T J J J J I J J J ] I J J J * I J J J J I J JTJ IJTJJTJ I J J I J *

j J íjfjj u J IJTJ I J J J J I J J T'H u J

JU I

u

J i i j t j j j i j f j j II

Three quarter notes to the measure.

JJJ

IJ JJJJ IJ * J J J I J J JJJUTJJ J IJJJJ

IJ J *

JTJJ J J J IJ J i IJ JTJJÍJ IJ. J J I J J J J J J J IJ

ti

Pracüce t h r e e c o u n t s o v e r t h e c o u r s e o f t w o b e a t s b e f o r e a t t e m p t i n g t h e n e x t six exercises.

J Jjj

J IJ J J J I J J J J J

I J J J J

IJ. J J

IJ J J

J J J J J J J J IJ J J J J J IJ J J J I J J J J IJ J J F o u r q u a r t e r notes t othe measure.

J J J J 10

Tíuñ

IJJIJ J

uJ

Tu u

J

IIJIJIJ

IJ J J J J U J J J J J I J J J J

11

J J J J J J ul

12

JJJJJJJJJJJ J T J

i»

IJHJTJ IJ J

u J J J J u J J J J J J T J J Í J rj -

j j TA JTJTJ J

IJJJ

S I M P L E ( C O M M O N ) M E T E R

ufe-

C H A P T E R XII 1 9 5

Practice five counts over the course o ft w o beats; i n t h e n e x t twelve exercises the q u a r t e r o r h a l f n o t e receives o n e beat.

J J IJTJTJ IJ J l/TJTJ IJ JTJIJTJJIJTJTJ IJ. i

13

,JJTJ1

ijtjtlJTIJ IJTJJJ IJ JIJTJJJ IJJJJIJJ Jl JTJTJ JJ J IJJJJ IJJJJ IJJJJJ iJJJJJ IJ

15

,ai J T J T J I J J J J U J J J j I J J J J J J I J T J T J U J J J J J IJ. J 17

JJJ

18

J J J J J lJ J J J J - I J T J J J J J I J T J T J J I J J J T J T J J T J J I J J *

19

JJJ

20á

O

I J J J J J I J T J T J J IJ J T J J J IJJ. J J J J T J J I J J T J J J I J *

JJIJ JJJJJ IJ JJJJJIJJJJJJJIJJJJJJJJ

JJJ UJJJJJ J IJ J JJJJJ UJJJJJ UJJJJJJJIJ J -

21

I J J J J ¡ J T J J J T J T J I J J J J J J I J J J T J J J I J J . J T J T J IJ. *

22

I J . J I JJJJJJJ? I J T J J J J T J J J I J J JTJJJ b J J J J J J J T J J J J J I J J l o o

IJ J J J J J I J J J J J J J J J IJ J J J T J J l o J J J J J J l o . -

A J J J. JI JJ JJJJ J IJJJJ JJJ JJJ I JJJ JJJJ JJJ i „ JJJJ IJJJ- - 196

C H A P T E R XII

S I M P L E ( C O M M O N )

M E T E R

N o w practice seven notes over the course o f o n e beat.

25

jjjji/nfej

IJTJJIJ

ae i J J J J i J ± J ± i nm

fmu

J

nm i j r á s núm i JJJTJJIJJ

„S J J JJJJ UJJJJJ IJTJTJ J J J J J J J IJ JJJ JJJ IJ 3

28

3

JTJTJTJTJTIJJTJJJJTJTJJIJTJTJJIJJTJJJJIJ J

o

T h r e e beats to a measure, w i t h five o r seven notes o c c u r r i n g over the course o f two beats.

29

J J 1 JTJTJ JJ IJ. J J J J IJJTJJTJJ IJTJJJJIJ JJJTJTJIJ i

«iJJJlJJJJjJJjíl^ 31

J J. JIJJJJJJJIJJJJJJJJJJIJJJJJJJJJIJJJJJJJJJJL. -3—«'—3—i

i

7

7"

I I

ÜJJJJJJJIJJJJJJJJJJJU JJJJJJJIJ J J 33

™i™j3lJJ^J3J>IJraT3^lJJllJ3j^JSI>^ 3

34

o

3

JSLM JJCT1 JJJJJJJ J I J J ^

- 3 — 3-

S I M P L E ( C O M M O N ) M E T E R

C H A P T E R XII 1 9 7

B e f o r e a t t e m p t i n g t h e last six exercises w i t h f o u r beats t oe a c h m e a s u r e , r e v i e w practicing five, six,a n d seven counts over t h ecourse o f o n e a n d t h e n t w o beats.

3

JJJJ IJMJTJJTJTJIJJTJJJI^ 3

3

5

7

5

JJTJJTJJIJJJTJJTJJIIJTJT^

J II

7

3

3

J J Ul

j JJJJJJJUJJJ JJ JJIJJJ JJJJJJJ JJIJ JJ"JJ JJJ JJJ Jll J

1M

| | | 11

é é é é mé 0

A

\

1— | 1 1 ! 1 ! 1 | 1— | 1 | 1 1 11111 n é000m00éé0000é00i a « 0

&é

i

1

i

0 0 i0 |9¡ 0 !, t> •9 S

n

i

III

éé3 1a

1

I

MI

a o ó

11

JJTJIJ^JJIJOTJ.^JOTJÍJJJS^

A J J I JJJ u JJI J>J J i j T j J i á á ^ i j t

1 9 8

CHAPTER XII

mtm\¿mwfl •>

S I M P L E ( C O M M O N )

M E T E R

C H A P T E R XIII

COMPOUND METER

I t h a s b e e n s a i d t h a t m u s i c is " e i t h e r s o n g o r d a n c e " ( P l a t o ) . T h e r e a r e m a n y d a n c e s i n w h i c h e a c h b e a t is d i v i d e d i n t o t h r e e r a t h e r t h a n t w o s u b b e a t s o r units ^gigue, taranteiia, saltareila, etc.). I n s i m p l e r h y t h m , these w o u l d be n o t a t e d as t r i p l e t s . I n o r d e r t o créate a m o r e i n d i v i d u a l i s t i c , r e g u l a r t r i p l e f e e l i n g w i t h i n e a c h b e a t , w e u s e compound meters, w h i c h w e r e d e v e l o p e d m a n y c e n turies ago. W e arrive at c o m p o u n d m e t e r s by m u l t i p l y m g the u p p e r n u m b e r i n simple m e t e r signatures by t h r e e a n d the l o w e r n u m b e r by t w o : \ (simple) becomes § (compound); 4 (simple) becomes \ (compound); 4 (simple) becomes 8 ( c o m p o u n d ) . W h e n c o m p o u n d meters are f o u n d i n slow music, f o r instance a largo i n § , f , § time, t h e e i g h t h , q u a r t e r , o r h a l f n o t e g e t s a b e a t , y e t t h e g r o u p i n g will still have a t r i p l e feel. 2

S i m p l e ( c o m m o n ) a n d c o m p o u n d m e t e r s c o n d u c t e d i n 2:

J J 1

or

2

1

2

J. J.

becomes

1

rn

or

rn

2

S i m p l e ( c o m m o n ) a n d c o m p o u n d m e t e r s c o n d u c t e d i n 3: 7,8,9

1,2,3

I J1 J2 J3

or OR

nnn

• é é é é 0

1 2 3

becomes

8

-*- 4,5,6

éj . é1 1

1 2 3

COMPOUND METER

oorr

1

mmm 3

2

C H A P T E R XIII

199

S i m p l e ( c o m m o n ) a n d c o m p o u n d m e t e r s c o n d u c t e d i n 4:

4

1

I JJJJ

J]J]J]J]

or

1234

becomes

J. J. J. J.

%

1 2 3 4

Ss ii mm pi ll ae r l y ,

compound

JUJHJJ3JU

or

1 2 3 4 simple

1

compound

i

becomes

f

2

becomes

|

|

becomes

ig

¡

becomes

i6

C o m p o u n d

D u p l e

M e t e r

PREPARATORY

EXERCISES

simple i

( j j ,4, i

6 6

2

3

4

compound 12 becomes becomes

}§

)

Practice each exercise several times, initially at J . = 50, later u p to J . = 100, always c o n d u c t i n g t h e p a t t e r n w h i l e p e r f o r m i n g . B e sure t h a t each accented beat contains three equal counts.

J.

IJ.

¡J.

m

j.

i m

m

ti

u.

J.

i m

J.

u. J.

\m u.

m 200

J.

J.

u.

C H A P T E R XIII

IJ

u.

J.

m J.

ti

IJ.

u.

*• II

J.

m

u.

i m

m

m

\m

COMPOUND

METER

J.

u. j.

J.

u.

n n

j. j. j.

\m

u. J. i m

m

u. J. u.

j.

j.

u

j.

j

i> hi> J

JJ

J

J>

m

j> J. J.

IJ7T3

J.

UTTJJ REGULAR

J.

\m i m

J

i m

m

r n 11

\ m J> u.

IJTTSJ

m

II

J> J.

II

u J>

n

u. m

J.

i

J i m ™

m

i/m

J.

II

J J n

EXERCISES

P r a c t i c e e a c h e x e r c i s e s l o w l y a t first ( t h e b a s i c u n i t J - = 5 0 ) , i n c r e a s i n g t h e s p e e d g r a d u a l l y u n t i l e a c h o n e c a n b e p e r f o r m e d a t a fast, steady t e m p o ( t h e basic u n i t J . = 1 0 0 ) . C o n d u c t t h e first s i x t e e n e x e r c i s e s i n t w o . I n E x e r c i s e s 1 - 1 4 e a c h b e a t c o n t a i n s three eighth notes, i n Exercise 15 three quarter notes, a n d i n Exercise 16, w h i c h i s i n j 6 (J>. J>. = J T 3 J 5 3 ) , t h e b e a t c o n t a i n s t h r e e s i x t e e n t h n o t e s . F o r this last exercise, r e m e m b e r also t h a t I T 3 c o u l d b e J J J J J J . 6

J T J J . h J ] J I J T ^ J T I J J. I J T J J . IJ. J T J h J J J . IJ. J H I j j)/3 i \n * j J U T T J J I J J J. \n •> j J I J J > J T J I I

/=3 u

JJ

.m/TEj.

j~n J. u j r ~ n

IJ J ^ J T T ^ I 7 j I J T J J J * u~n

J JIJJ

jsirnrnuj j Jinjnj¡j~ran^u COMPOUND METER

jn

n\m

j~nn JJ>II

C H A P T E R XIII

2 0 1

a I J^J J J2IJT3] JTJ l / T ^ m i IJ~rajT3 h J l J773II 7 §jT3>7¡jT];>7i|j J J T I I J T ] J l ] | j n 7 j ] | j

||

r

.

| 7 J)7

J 7 ] |7

| rj]7

J)7

| l J J J)|irjYí J T ]

| Jl

7 7^7

||

J U J^jJbJJ J I J ^ J l ^ J ^ J U J ^ J T I J J ^ J I J J J J H r n

r

m

H i i RI

r n i 7

n i j

N7

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1^ , T h e f o l l o w i n g t h r e e e x e r c i s e s e m p l o y hemiola, a r h y t h m i c t e c h n i q u e i n v o l v i n g t i m e valúes i n t h e relaüonship 3 : 2 . F o r i n s t a n c e , t h r e e h a l f n o t e s o c c u r i n t h e space o f t w o d o t t e d h a l f n o t e s — i n 4 w i t h i n o n e m e a s u r e a n d i n 4 spread o v e r t w o m e a s u r e s : | J . J . = ( | ) J J J o r 4 J- U - = J J J . J J II .

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J J J. J U J J J J I J J_J>J. J I J J J J J IJ. J E J J J J J J * I I T h e use o f h e m i o l a obscures the r h y t h m i c regularity o f c o m p o u n d meters b y switching three t o t w o a n d vice versa. H e m i o l a patterns a r e especially prevalent i n certain genres o f music f r o m t h eRenaissance period, a n d have been used extensively i n music composed f r o m t h e eighteenth century onward. H e r e a r e t w o examples f r o m t h eliterature t o practice; i n these excerpts y o u can feel the r h y t h m i c shifts very strongly, a factor t h a t w i l l e x p l a i n the practice o f the h e m i o l a better t h a n words ever will. Symphony No. 3 Johannes Brahms

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r n \ r n

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Practice each exercise several times, always c o n d u c t i n g t h e p a t t e r n w h i l e perf o r m i n g . Be sure that each beat contains three equal counts.

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P r a c t i c e e a c h e x e r c i s e s l o w l y a t first ( t h e b a s i c u n i t J . = 5 0 ) , i n c r e a s i n g t h e s p e e d g r a d u a l l y u n t i l e a c h o n e c a n b e p e r f o r m e d a t a fast, steady t e m p o ( t h e b a s i c u n i t J. = 1 0 0 ) .

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Practice e a c h exercise slowly a t first ( t h e basic u n i t J. = 5 0 ) , i n c r e a s i n g t h e s p e e d g r a d u a l l y u n t i l e a c h o n e c a n b e p e r f o r m e d a t a fast, steady t e m p o ( t h e b a s i c u n i t J. = 1 0 0 ) .

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C H A P T E R XIII 2 0 7

I n t h e n e x t eleven exercises, s o m e t i m e s t h e d o t t e d q u a r t e r n o t e , s o m e t i m e s the dotted half note, a n d sometimes the dotted eighth note becomes the unit of measure: J . J . 1 J. ; \ i i i i ; }§ J>. J>. J>. J>. . 2

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C H A P T E R XIII

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A d d i t i o n a l

C o m p o u n d

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I n music f r o m all creative periods there a r e examples o f w o r k s that are w r i t t e n w i t h six, n i n e , o r twelve beats p e r m e a s u r e . T h e s e g r o u p i n g s a r e n o t a t e d w i t h the same c o m p o u n d meters that w e have studied i n t h e earlier part o f this chapter, b u t r a t h e r t h a n falling i n t o patterns o f 2, 3, a n d 4 a n d r e g a r d i n g a d o t t e d n o t e a s t h e b e a t ( | J- J ) , t h e y a r e c o n d u c t e d i n 6 , 9 , a n d 1 2 a n d t h e r e b y c o n s i d e r t h e f o r m e r s u b - b e a t n o t e valué (§ J T J J T J ) a s t h e b e a t valué ( J ) . I n o r d e r t o b e c o m e familiar w i t h t h e n e w c o n d u c t i n g patterns f o r these meters, d o the f o l l o w i n g exercises carefully.

SIX BEATS T O T H E M E A S U R E

6, 6, 6 8' 4'16

Practice e a c h o f t h e f o l l o w i n g exercises s l o w l y ( t h e basic u n i t J = 60, J = 60, J5 = 6 0 ) , t h e n i n c r e a s e y o u r s p e e d g r a d u a l l y t o a b o u t 1 0 0 f o r t h e b a s i c u n i t . C o n d u c t each exercise w i t h t h e "six" p a t t e r n p r i n t e d above. N e v e r g e t so fast t h a t the beat is f o r c e d i n t o a " t w o " p a t t e r n . S t a r t i n g w i t h these exercises a n d c o n t i n u i n g u n t i l t h e e n d o f t h e c h a p t e r , t h e b a s i c u n i t s o f b e a t , J , J , o r J>, a r e m i x e d . B e careful, therefore, t o l o o k a t the t i m e signature f o r each exercise t o m a k e c e r t a i n w h i c h r h y t h m i c valué g e t s a b e a t .

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F o r a d d i t i o n a l practice, u s e t h e r e g u l a r exercises o n pages 2 0 1 - 2 0 2 a n d p e r f o r m ( c o n d u c t ) t h e m i n six r a t h e r t h a n i n t w o . I n o t h e r words, d o these exercises i n slow m o t i o n .

NINE BEATS T O T H E M E A S U R E 9 /

8'16' 4

Practice increase exercise is f o r c e d

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e a c h e x e r c i s e s l o w l y ( t h e b a s i c u n i t J> = 6 0 , J = 6 0 , J ) = 6 0 ) , t h e n s p e e d g r a d u a l l y ( t o a b o u t 1 0 0 f o r t h e b a s i c u n i t ) , conducüng e a c h w i t h t h e " n i n e " p a t t e r n p r i n t e d a b o v e . N e v e r get s o fast t h a t t h e b e a t into a "three" pattern.

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C H A P T E R XIII

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COMPOUND METER

C H A P T E R XIII 2 1 1

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TWELVE BEATS T O T H E M E A S U R E

112 1 12,12,12 8 16' 4 6 5 4 3 Practice increase exercise is f o r c e d

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each exercise slowly ( t h e basic u n i t J = 6 0 , J = 6 0 , J = 6 0 ) , t h e n speed g r a d u a l l y ( t o a b o u t 100 f o r t h e basic u n i t ) , c o n d u c t i n g each w i t h t h e " t w e l v e " p a t t e r n p r i n t e d a b o v e . N e v e r get so fast t h a t t h e b e a t into a "four" pattern.

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COMPOUND METER

C H A P T E R XIII 2 1 3

CHAPTER XIV

COMPOSITE METERS

All meters practiced thus far, b o t h simple a n d c o m p o u n d , have a certain a m o u n t o f s v m m e t r v w i t h i n a g i v e n m e a s u r e : e a c h b e a t w i t h i n a m e a s u r e is o f e q u a l d u r a t i o n . I n composíte 0 1 c o m p l e x c o m p o u n d metéis, o n e u r m o r e beats w i t h i n a m e a s u r e are e l o n g a t e d .

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I is m a d e u p o f t w o p l u s t h r e e e i g h t h n o t e s ( i n i g o r \ , s u b s t i t u t e s i x t e e n t h s o r q u a r t e r s f o r e i g h t h n o t e s ; i n r a r e i n s t a n c e s o n e w i l l find t h e s i g n a t u r e 1 ) a n d i s conducted i n two, with o n e short a n d o n e elongated beat t o each measure. U s u a l l y t h e c o m p o s e r i n d i c a t e s w h a t división o f t h e m e a s u r e s s h e d e s i r e s , w h e t h e r 2 + 3 o r 3 + 2 ; s o m e m e a s u r e s m a y b e a m b i g u o u s as t o t h e i r división. S p e c i a l attenüon m u s t b e p a i d t o a s s u r i n g t h a t a l l e i g h t h , q u a r t e r , o r s i x t e e n t h notes w i t h i n a measure o f composite m e t e r a r e absolutely equal, so that I J T J T J does n o t sound like J J J T J .

PREPARATORY

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P e r f o r m t h e s e e x e r c i s e s s l o w l y a n d c a r e f u l l y , c o n d u c t i n g e a c h o n e as y o u g o t h r o u g h it. | will look like J l J T J o r J T J J J ; I will be notated J J J J J o r J J J J J ; a n d i6 w i l l l o o k l i k e J l J T J o r J T J J l . R e p e a t e a c h u n t i l i t feels n a t u r a l b e f o r e y o u p r o c e e d t o t h e r e g u l a r e x e r c i s e s . I t w i l l b e h e l p f u l a t first i f y o u a c c e n t t h e first n o t e i n e a c h g r o u p s l i g h t l y w h e n y o u p r a c t i c e t h e s e e x e r c i s e s . (>)

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REGULAR E X E R C I S E S Practice e a c h exercise slowly, b e g i n n i n g a t 1 0 0 f o r t h e basic u n i t . T h e n increase t h e speed g r a d u a l l y u n t i l i t reaches a b o u t 156 f o r t h e basic u n i t . B e certain that all units, w h e t h e r quarter, eighth, o r sixteenth, r e m a i n equal t h r o u g h o u t each exercise. T h e e i g h t h n o t e gets a beat. (>)

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CHAPTER XIV

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16 B e f o r e p r o c e e d i n g t o t h e n e x t section, d o these exercises again slowly. I n s t e a d o f conducting each measure i n two, beat each eighth, quarter, o r sixteenth n o t e as a sepárate b e a t , as i f t h e t e m p o w e r e m a r k e d J = 6 0 , J = 6 0 , o r . f i = 6 0 . T o c o n d u c t t h e s e m e a s u r e s , c o m b i n e t h e t w o - a n d t h r e e - b e a t conducüng p a t terns that y o u already know:

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PREPARATORY

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P e r f o r m t h e s e e x e r c i s e s s l o w l y a n d c a r e f u l l y , c o n d u c t i n g e a c h o n e as y o u g o t h r o u g h it. R e p e a t each u n t i l i t feels c o m f o r t a b l e b e f o r e y o u p r o c e e d t o t h e r e g u l a r exercises.

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T h i s chapter contains s o m e pieces f r o m m u s i c literature that s h o u l d be perf o r m e d i n class. T h e y a r e c h r o n o l o g i c a l l y a r r a n g e d a n d s p a n t h e s i x t e e n t h t h r o v i f f h t w p n t i c t h r c n r u r i c s T h e c h o r a ! w o r k s i n a v b e s u n g a rafrpella or with a c c o n i p a m n i c i i t . T h e b u l o s o n g s a n a r e c i t a t i v e s s h o u l d a l l b e a c c o m p a n i e d as specified o n the score, w i t h p i a n o o r strings; however, o t h e r i n s t r u m e n t s o r the p i a n o m a y substitute i f n o string players are available. W e suggest t h a t t h e i n s t r u c t o r select these pieces f o r p e r f o r m a n c e at a n y time d u r i n g t h e s i g h t s i n g i n g c o u r s e . M a n y o f t h e s e l e c t i o n s e m p h a s i z e o n e p a r t i c u l a r set o f i n t e r v a l s w h i l e o t h e r s d e m a n d a b r o a d e r i n t e r v a l l i c v o c a b u lary. A s a n e x a m p l e o f t h e f o r m e r w e m i g h t cite t h e recitative f r o m H a y d n ' s Creation, w h i c h is c e r t a i n l y a fine c h o i c e f o r p r a c t i c i n g t h i r d s i n c o n t e x t . 1

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CHAPTER XVII

283

Three Recitatives from

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C H A P T E R XVII

285

"Lift Thine Eyes" T h e parts c a n also be s u n g o r d o u b l e d by three m a l e voices: t e n o r 1, t e n o r 2 (or b a r i t o n e ) , a n d bass.

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C H A P T E R XVII

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